It was in the earliest days of the nineteenth century that artificial flowers began to obtain considerable popularity, and they were used in the hair and on the bodices and in festoons on the skirts, and on the hems of trains. After the return of Napoleon from Elba, violets were the conspicuous fashion, being regarded as an emblem of Imperialism, and no faithful follower was seen without a bunch of violets in her dress; while the ladies of royal sympathies would, in honour of Louis XVIII., decorate their gowns with eighteen tucks, and supply their cashmere shawls with vermilion borders.
Shawls, the manufacture of which had begun in England in the eighteenth century, were in great request later in the century. They were made of cashmere, in imitation of the Indian shawls, which were respectfully considered articles of luxury and importance during all the days of Queen Victoria, who chose these as wedding gifts for the brides she delighted to honour.
But I progress too fast.
After the battle of Waterloo, fashion decidedly changed, and the clinging gown, with its skimpy skirt hanging from a short belt or Empire bodice, was discarded in favour of a much-trimmed dress standing well away from the figure, and fancy would work its elaborate will on the trimming of these skirts with scollops, many-coloured embroideries, fringes and gold braid. The bodice still remained a minor quantity, supplied with two short puffed sleeves and filled to the bust or somewhat below it with a jewelled clasp or some decoration of embroidery or lace, whose indiscretions were presumably to be concealed beneath a dainty scarf of silk or coloured gauze, an elegance which failed in its duties lamentably, and hung limply over the arm as if ashamed of its delinquencies.
The fashionable outdoor dress could hardly have been suitable to the English climate, unless indeed its habits have altered strangely, and its detractors have reason for their abuse. The loose robe was of jaconet muslin open at the neck and covered with embroidery, and round the shoulders would hang the scarf, usually dropping to the waist, and held in the hollow of the elbow; and on the head appeared a French cap of blonde lace trimmed with ribbons.
In the 'thirties, dress was merely a travesty of the 'twenties; huge sleeves and stiffened petticoats were universal, and the tight-fitting bodices, cut with sloping shoulders, gave a thin flat appearance to the waist, further accentuated by the ballooning sleeves, setting closely to the wrist. The skirts were short, and still further enhanced the immense effect of the sleeves; and round the waist a plain band added angularity to the outline. Revers, shaped like capes at the back and pointed in the front, were on day and evening bodices alike, and pelerines of all kinds established their popularity, being tucked into the waist, or having wide long ends crossed at the back or front. Blonde lace was a favourite trimming to all gowns; and a style of dress that took the fancy for a short time was known as the "tunic." This was made with a sleeveless bodice and pointed shoulders, the under-dress being two inches longer and of a colour different from the skirt, which was open in the front. Bright colours were very popular, but, on the whole, the spirit of costume was chastened, and muffs, fans, bouquets, and parasols became considerably smaller.
LADY BLESSINGTON.
The most conspicuous garments in the earliest days of Queen Victoria were the shawl-shaped cloak, the circular cape, and the crossover made of either embroidered crêpe or taffeta, and bearing on its borders a fringe or some frill of lace. Beneath these the sleeves dropped lower and lower from the shoulder, and extended their fulness from elbow to wrist; their top was tight and plain, or edged with two little frills, and the billow beneath was expressed in white lawn. The fichu in cambric or lawn was a feature of nearly every bodice, the only alternative being a double collar, which turned down at the neck.
The outstanding petticoat was ubiquitous, skirts over it being single and trimmed with flounces, or double and dividing in the centre, to show a contrasting under-skirt. Kerchiefs and capes were draped over low dresses, and berthas were important features in the tulle or tarletan gown, which was festooned and flounced, tied with ribbons, one skirt being looped up over another with more ingenuity than elegance.