1870s Fashion
1870s Fashion
The Trends
The Trends
The Trends
1870s Fashion
Women’s fashion of the 1870s is most known for the first of the “bustle eras” which lasted from the last two years of the 1860s until the mid-1870s. This style was a slow transition from the large circumference skirts of the Civil War Era, those easily recognized by their use in films like Gone with the Wind. As the 1860s were ending, the excessive amount of fabric was still used in the construction of dresses and skirts but rather than using the large cage crinoline, the sides of the skirt were drawn up towards the small of the back, creating a bustled effect as seen in the wedding photo to the right. Like the crinoline, as the style became more popular, undergarments to support the desired shape were marketed and utilized by many women. First by horse hair stuffed pads and eventually by a smaller version of the crinoline known as a crinolette which supported the weight of the draped fabric and helped to accentuate the flair of peplum style bodices.
Among the articles of attire, the bustle, just now, occupies the attention of the female mind. The bustle is a harmless combination of wire springs, gauze and trimmings, and is used to expand or amplify the rear of ladies’ dresses. The storekeepers sell these things at various rates, ranging from three to twenty-five dollars, according to the gullibility and wealth of their customers.
-Daily Illinois State Register, August 1, 1872, 4.
Photographed by Fred P. Mosby, c. 1871-73
Image courtesy of Richard E. Hart
Layering, three-quarter length sleeves, square necklines, trained skirts, and excessive decoration are the tell-tale signs of 1870s fashion. Exaggerated aspects of dress are the ones most commonly published in periodicals, fashion plates, and the dress of the wealthy, but many during this time were not financially able to wholly adopt these detailed styles. In 1873 a financial panic and subsequent depression influenced the way in which Americans participated in fashion. Those with some disposable income did their best to be en vogue but could not complete with the wealthiest. It has been speculated that financial difficulty could explain the use of decoration in 1870s fashions. It was easier to cover up the use of poor fabric by utilizing lace, ribbons, and multiple colors in order to enhance the look of an ensemble and for those on a budget, more was better. Another way to save money on clothing was to have a day and evening bodice for a particular skirt, a practice that was common throughout the nineteenth century.
Photographed by J. Q. A. Tresise , c. 1872-76
Image courtesy of Richard E. Hart
Photographed by Hugo Klingholz, c. 1874-77 Image courtesy of Richard E. Hart
Photographed by L. S. Anderson, c. 1878
Image courtesy of Richard E. Hart
As fashions gradually changed, the high waistlines of the 1860s dropped lower and lower, examples of which can be seen in the above photos. By the second half of the decade long bodices without waist seams, in the "princess" style, were common. Looking like elegant robes, they buttoned in front and split before the knee, ending just above the hem of the skirt. Due to the lengthening bodice, corsets had to do the same to maintain the desired shape and often extended over the hips, which could be more uncomfortable and was rarely worn by women outside of the upper class, because of this the fashions pictured feature shorter, more practical versions of this trend. While bodices inched closer to the floor, skirts became tighter around the legs, often held by straps to the back of the dress, keeping it taunt. Additionally, false apron skirts were worn over the full skirt to create more layers. As the 1880s drew closer, the bustle decreased in popularity and the bodice returned to hip and waist length. The skirt was still held close to the legs and the absence of the bustle allowing for a longer train which can be seen in the Jorns photo below (right).
Photographed by Gustave W. Jorns, c. 1874-80
Image courtesy of Richard E. Hart
Photographed by Gustave W. Jorns, c. 1874-80
Image courtesy of Richard E. Hart
Photographed by Gustave W. Jorns, c. 1874-80
Image courtesy of Richard E. Hart
The structural changes in fashion also affected the way women wore their accessories and styled their hair. Some women attempted to make their hair take up more room vertically, relying on height and often paired with loose ringlets. Bangs, or fringe were worn, especially for younger women and girls. It was not uncommon for women to supplement their coiffures with hair pieces, of their own making or purchased from a shop like R. N. Pearson's on 5th Street. These elaborate hairstyles were often paired with small bonnets and hats, unlike the large bonnets of the 1860s. Like the two women in the Pietz photo below, these smaller hats were worn tilted to the front to offset the bustle. The goal of this period was to look tall and svelte, which was achieved by making the hair higher and the dresses tighter against the legs.
Photographed by Pietz & Klingholtz,
c. 1870-75 Image courtesy of Richard E. Hart
Photographed by L. Sperry Anderson, c. 1875 Image courtesy of Richard E. Hart
Photographed by Henry Pietz, c. 1873-77 Image courtesy of Richard E. Hart
Photographed by Gustave W. Jorns,
c. 1874-82 Image courtesy of Richard E. Hart
Unlike the fashions of women, men’s clothing changed little from the sack suits of the 1860s, and the three-piece suit continued to be the popular everyday look. There were some changes to menswear in terms of cut, with the over-sized sack jacket being tailored for a closer fit and a narrower sleeve. Additionally, a morning coat buttoned below the neck to show the waistcoat (vest) or the longer frock coat were also common options for men. The necktie, an accessory used since the turn of the nineteenth century, became the go-to neck wear for men, women, and children. Those worn were similar to the 1860s, but the wide-tailed tie surpassed the bow tie for everyday menswear and loose lace and linen bows and ties were adopted by women in lieu of broaches and collars. Men's hairstyles and facial hair shifted during this decade, with younger men wearing their hair shorter and parted to the side. Mustaches were popular, and beards were still worn, especially by older men.
Boots remained the most used form of footwear for all with the height ranging from ankle to mid-shin. Men’s boots were always of a dark color, and often square, with a narrower option popularized for formal wear in the second half of the decade. Those worn by women were often buttoned on the side and were offered in a wide range of styles and patterns. Although not represented here, men still favored the top hat but only for formal occasions. During the day, more informal styles like the bowler, straw hat, show below, and wide brim continued to be popular.
Photographed by Richards & Pittman, c. 1876-77
Image courtesy of Richard E. Hart
Photographed by Julius Bethgay, c. 1874
Image courtesy of Richard E. Hart
Photographed by Henry Pietz, c. 1877-80
Image courtesy of UIS Archives
The late nineteenth and early twentieth-century was a time when children wore smaller and less tailored version of adult styles. From birth, most wore loose light-colored dresses with gendered ensembles being introduced in the toddler years. Most boys and young men sported pants and shorts from this age, with young girls wearing simple dresses that increased in length as they got older. The Victorian Era was a time when the importance of childhood and the family dynamic was viewed as essential to the newly forming middle class experience. Children were encouraged to play and enjoy youth rather than contributing to the family at a young age. This led to a new market of children's clothing and toys which is evident in advertising of the time.
Photographed by Samuel P. Tresize, c. 1869-70
Image courtesy of Richard E. Hart
Photographed by Richards & Pittman, c. 1876-77
Image courtesy of Richard E. Hart
Photographed by Pietz & Klingholz, c. 1874-77 Image courtesy of Richard E. Hart
Photographed by Hugo Klingholz, c. 1873-77
Image courtesy of Richard E. Hart