Evolution of Fashion | Fashioning Belgium

The fashion of the 1830s was dramatic, with an emphasis on sleeves. Two main silhouettes emerged over the course of the decade. The first pulls attention to the top of the dress and features voluminous sleeves and bodices with nipped waists that end just above the natural waistline. This creates a short-waisted effect. Gigot, or leg-of-mutton, sleeves were the most significant element of this silhouette. The skirt ended just above the ankle. The second silhouette, which appeared in 1836, has a more drooping and sentimental quality. The waistline and hem are lengthened, and the sleeve fullness shifts to the lower arm.

The 1840s are characterized by a general lack of trimming and a focus on textiles. The silhouette consists of a long, inflexible bodice that spreads and flattens the bosom outward and ends in a sharp V-point. It also has tight, narrow sleeves set below the shoulder. These sleeves are so tight that fully lifting the arms is impossible. Later in the decade, the sleeves begin to loosen. The full, dome-shaped skirt skims the floor and has tiny pleats at the waist. Over the course of the decade, the skirt grows in size, requiring up to seven petticoats by the end. Petticoats stiffened with horsehair, called crinolines, helped achieve the desired fullness. Necklines were wide and shallow, nearly falling off the shoulder, but became higher and more rounded by the end of the decade.

The 1850s retained some elements of the 1840s, such as voluminous, dome-shaped skirts and drooping shoulders. Multiple petticoats were worn, but the invention of the cage crinoline in 1856 reduced the number needed to achieve the desired silhouette. Tiered flounces emphasized the voluminous look. The basque waist, which emphasized the small waist with a jacket-like bodice extending over the hips, became fashionable. Sleeves opened into wide "pagoda" sleeves that showed white, removable undersleeves. The waist rose to its natural position. It became common for dresses to consist of two pieces: a skirt and a bodice. Often, one skirt had two matching bodices, one for daytime and one for evening wear. The daytime bodice featured a high neckline and long sleeves. In contrast, the bodice for evening wear had short sleeves and a lower neckline that revealed the chest and shoulders. The sewing machine, patented in the 1840s and widely produced by 1851, had a significant impact on fashion because it made fashion more accessible. The invention of the first synthetic dye produced a wider variety of colors.

The voluminous skirts of the 1840s and 1850s remained popular until the early 1860s. Cage crinolines and hoop skirts eliminated the need for multiple petticoats. By 1862, the shape of the skirt had changed, swinging backward to resemble a pyramid. By 1868, the front had flattened, shifting the volume to the back. The waistline moved up, creating a short-waisted effect and resulting in shorter corsets that didn’t confine the hips. After 1865, the uppermost skirt layer was drawn upward to reveal the underskirt, resulting in boldly colored or patterned, trimmed petticoats. Long sleeves that dropped below the shoulder and high necklines remained the norm for daytime wear. For a more casual look, skirts were paired with shirtwaists or blouses. Evening wear featured off-the-shoulder necklines and ever-shorter sleeves, sometimes as little as straps. The use of sewing machines and synthetic dyes grew exponentially.

In the 1870s, the focus of the skirt shifted to the back while the front fell flat. Two distinct silhouettes emerged: the first bustle style in 1870 and the so-called "princess style" in 1876. The first bustle style featured a soft, draped protrusion in the back, creating a sloped bustle with layers of pleats, ruffles, and gathers. The waistline was higher than natural, and lower-sloped shoulders prevailed. By 1876, the bustle had collapsed, and the "princess style" had become the height of fashion. This style featured a snug fit around the hips and tight sleeves, and the dress had no horizontal waist seam. Volume at the back began below the hips and sometimes extended into long trains. This slimmer silhouette required more severe corseting, with the corset extending over the hips. Due to the use of synthetic dyes, bright colors became fashionable, and dresses often featured multiple colors.

Antoinette Simon & Emma Bach, Brussels. Walking Ensemble, c. 1878. Silk, linen, metal. © KMKG-MRAH / Maximiliaan Martens, UGent, Gicas.

Mlle. Delfosse Soeurs, Mons. Walking Ensemble, c. 1880. Cotton, silk, linen, metal.

Isabelle Strivay, Brussels. Relevailles Bodice, c. 1885. Silk, linen, metal, cotton.

The 1880s were characterized by slender, angular silhouettes with heavy decoration and a focus on the back. Two distinct silhouettes shaped the decade: the "princess style" and the second bustle style. The "princess style" continued from the 1870s, emphasizing a vertical line. The second bustle style began in 1883. Unlike the first bustle era, the fashionable bustle of this era projects from the small of the back like a shelf. This rigidly structured silhouette required a variety of complex undergarments, such as the lobster-tail bustle. The bustle reached its largest size by 1886, but started to shrink again after 1888. Bodices featured high, narrow shoulders; tight sleeves; and tall, fitted collars. Hemlines ended just above the floor, and overskirts were often tucked up to reveal underskirts. Evening wear featured lower necklines, shorter sleeves, and long trains. During this decade, two dress movements emerged: the Aesthetic Movement and the Rational Dress Movement. Both movements adopted clothing worn without corsets, but they were mainly mocked by the mainstream.

Mlle. Crickx, Brussels. Bodice, c. 1897. Silk, metal. © KMKG-MRAH / Maximiliaan Martens, UGent, Gicas.

The 1880s were characterized by slender, angular silhouettes with heavy decoration and a focus on the back. Two distinct silhouettes shaped the decade: the "princess style" and the second bustle style. The "princess style" continued from the 1870s, emphasizing a vertical line. The second bustle style began in 1883. Unlike the first bustle era, the fashionable bustle of this era projects from the small of the back like a shelf. This rigidly structured silhouette required a variety of complex undergarments, such as the lobster-tail bustle. The bustle reached its largest size by 1886, but started to shrink again after 1888. Bodices featured high, narrow shoulders; tight sleeves; and tall, fitted collars. Hemlines ended just above the floor, and overskirts were often tucked up to reveal underskirts. Evening wear featured lower necklines, shorter sleeves, and long trains. During this decade, two dress movements emerged: the Aesthetic Movement and the Rational Dress Movement. Both movements adopted clothing worn without corsets, but they were mainly mocked by the mainstream.

Mme Kurtz-Penning, Nivelles. Wedding Ensemble, 1903. Silk, linen, metal, cotton. © KMKG-MRAH / Maximiliaan Martens, UGent, Gicas.

G. Hanay, Liège. Day Dress, c. 1909–1911. Silk, linen, metal, cotton. © KMKG-MRAH / Maximiliaan Martens, UGent, Gicas.

After the turn of the century, modest dresses adorned with lace and other embellishments became popular. The S-shape accentuated the narrow waist, and blousy, loose tops created the illusion of a "mono-bosom." Dramatic sleeves and petticoats completed the ensemble. Day dresses were overlaid with lace or Irish crochet—a more affordable option—and covered the body from neck to floor. Evening dresses had the same silhouette as day dresses, but they also had a low décolletage, short sleeves, long gloves, and a fitted bodice, which differentiated them from day wear. As the decade progressed, the S-bend softened and straightened into a more natural shape. Tops, sleeves, and skirts became narrower, with higher waists, achieving a tubular silhouette.

Matilde Kirchner et Cie, Brussels. Blouse, 1912. Silk, linen, metal, cotton. © KMKG-MRAH / Maximiliaan Martens, UGent, Gicas.

The 1910s consist of two distinct periods: before and during World War I, when the S-shape disappeared and skirts started tapering towards the bottom. Paul Poiret dominated the first half of the decade by moving away from corseted looks. After 1914, fashion became more practical. Tunics were worn over skirts, and women began wearing uniforms. After the war, a simple, barrel-like silhouette with long skirts dominated fashion.

The garments in the exhibition range from 1878 to 1912, visually showing how quickly silhouettes changed in the late 19th and early 20th centuries.

Written by Wiebke Werther

Evolution of Fashion: 1830-1919