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".

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. Summary
1800 - 1814
RESTORATION
1814- 1850
1850 - 1875 1875- 1900
EMPIRE
ROMANTICISM ECLETISM

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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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.