Women”s fashion of the XIX century: what the beauties of Russia wore at that time according to portraits of artists

Russian women’s fashion was elegant and refined during the 19th century. With meticulous attention to fabric, design, and adornment, the clothing of this era reflected the social status and cultural values of the time.

19th-century artists perfectly encapsulated this style in their portraits, highlighting the opulent gowns, dexterous jewelry, and elaborate embroidery that Russian ladies wore. These images provide a window into the past, showcasing the elegance and beauty that shaped that era’s fashion.

By examining these photos, we can gain insight not only into the fashion preferences of Russian women but also into the cultural standards and influences that influenced their attire. The 19th century’s fashions, which ranged from ornate ball gowns to more straightforward day dresses, tell a fascinating tale of tradition, artistry, and prestige.

How the female suit has changed throughout the 19th century

The XIX century is known for its breathtakingly gorgeous women’s clothing, much like the XVIII century before it. This is evident in the artwork created during that era as well as in movies that are devoted to it. Neoclassicism first gained popularity at the turn of the 20th century, which in turn sparked a fascination with antiquity and Empire-style costumes among women at the start of the decade.

Transient romanticism takes his place in the 1930s. The second Rococo style, which emerged in the middle of the 19th century and persisted until the 1870s, will take its place. Then there was positivism, the tourist. In the modern era of the 1890s.

Empire style is the revival of antiquity and "naked fashion"

The intricacy of the dress styles was not what defined female fashion at the turn of the century. The naturalness and completion of the neoclassicism that dominated all art at the time was referred to in Russian fashion as the "Empire style," or chemise (derived from the French word "chemise," which means shirt).

The fashionable magazine "Moscow Mercury" stated at the time that "the main thing is to outline the forms in today’s costume." That is, clothing should hug the stomach and legs to show off the figure’s natural contours.

Women were at last liberated from corsets and crinolines. And they took deep breaths. The light-colored, airy, and weightless cotton, crepe, muslin, lace, and silk garments were replaced by thick-fabric dresses with voluminous skirts.

These were straightforward long dresses in the shape of Greek-style shirts. with a high waist that slides under the chest and is frequently accentuated with a belt, and a small volume of bodice. The neck and arms are agape. Most often, necklines are square; they are rarely rounded, but they are always deep. Short, spherical lantern sleeves highlight the shoulder line. The season affected the skirt’s length. Some of the models had lengthy trains.

Women didn’t wear corsets until around 1809. However, they later reemerged in popularity. Despite the fact that they were looserly drawn than in earlier and later periods.

The portrait of Maria Lopukhina by Borovikovsky is an illustration of a simple costume from the turn of the century.

Or Nicholas I’s wife Alexandra Feodorovna’s ceremonial portrait.

The clothing of Russian fashionistas is more sophisticated and understated than that of the French. They occasionally incorporate details and components from Russian folk costumes into their looks.

Dresses have not been all white since 1810. Taking into account the Russian climate, they start making simple gowns out of pricey velvet and thick brocade. Occasionally featuring long sleeves and embroidered decorations.

1825 marks a shift in fashion. The Empire-style dress’s skirt takes on the shape of a narrow bell. Trains vanish. Fashionistas of the time would have dreamed of opulent Kashmir shawls made of Tibetan goat wool, or short spencer jackets worn over dresses, a hallmark of the Empire era.

Long gloves, a string of pearls, tiny beads around the neck, Pamela-style hats, billowy caps, and "oriental" turbans were all worn by women to complement their outfits. Fur coats from Russia are becoming trendy. The delicate flowers accentuated the femininity and lightness of the images by adorning high hairstyles with curls at the temples.

For instance, Ekaterina Avdulina is wearing a stylish, high-waisted dress from the first quarter of the 1800s. She wears an exquisite bright yellow Kashmiri shawl around her shoulders.

If we compare this to modern fashion, women’s empire-style dresses are still in style. This look conceals flaws and excess weight while visually lengthening the figure.

The costumes of this era are admirable in the 1967 movie "War and Peace."

Romanticism and Biedermeier style in women"s dress

The Empire style was short-lived. However, the trend toward sophistication and femininity has not vanished. It was replaced in the 1930s by the romantic style, which also happened to be the biedermeier style of 1820–1840, which was a unique and fascinating parallel trend in European fashion.

In actuality, Biedermeier is not the name of an artistic movement. This is the term used to describe a thirty-year span at the start of the 19th century that stretched from the European revolutions to the Napoleonic Wars. This period saw the emergence of an artistic movement that was primarily evident in German-speaking nations across a range of artistic and cultural disciplines. Including what women wear.

Greek-inspired designs are no longer common. They are swapped out for a traditional cut. Wide, voluminous puff sleeves on dresses with full skirts and lots of folds that show off the shoulders and neck appear.

The waistline goes back to its proper position. And if it’s excessively high, then just a little. Wide sleeves, full skirts, and corsets—which are making a comeback and are getting tighter—all draw attention to a thin waist.

The dress’s upper portion, which has less exposed necklines than before, highlights the wearer’s chest and low-slung shoulders, while the skirts’ length rises to the ankles. a ton of frills, ribbons, and lace ornaments.

There are occasionally, if ever, dresses that have a crinoline. A number of highly starched petticoats are worn underneath the dress to support the upper skirts and give the illusion of puffiness.

The sleeves are a unique symbol of the times. They are consistently large and expansive. The majority of everyday dresses have long, simple sleeves. To add volume, whalebone was sewed into the top portion.

There are gigot sleeves. They were jokingly referred to as "lamb’s leg" in Russia. The sleeve’s upper portion was incredibly wide and puffy. However, it got progressively smaller and smaller.

Most often, short, voluminous lantern sleeves were sewn on the cuff of ball gowns. The sleeve could have two parts: a short, dense inner sleeve lined with cotton wool or down, and an upper, long sleeve made of silk or translucent materials.

The accessories and details, such as the fur or feather boas that were popular at this time, shawls, capes, umbrellas, and muffs, are given a lot of attention.

Karl Bryullov painted "The Horsewoman," a portrait of Grand Duchess Elena Pavlovna, and Alexander Bryullov painted a portrait of Natalia Goncharova, which are examples of charming feminine attire from this era.

There were already separate sections for daily, morning, and ballroom dresses. Simpler models with long sleeves and no neckline were used for everyday wear. They were wearing short gloves and parasols. Pallor aristocratic was fashionable. Scarves with lace fichu were draped over the shoulders.

Ballroom gowns were sewed with open shoulders, a neckline, and either long or short sleeves. The evening gown with its short sleeves looked great with long gloves on. A belt with a buckle or bow was unavoidably going to draw attention to a slender waist.

Dresses were accessorized with shawls, a round scarf made of ostrich feathers and fur, and an echarpe scarf, which falls at the back to the waist before being thrown over the arms in front, bent at the elbows.

Around the same period, women’s horseback riding attire known as the "Amazon dress"—a long woolen skirt paired with a narrow blouse—begins to gain popularity. They include a veil-covered hat and gloves.

No longer are dresses only made of light fabrics; they can now be made of colored fabrics as well, including checkered or dark ones. Ruffles and lace are beginning to become fashionable.

The bonnet with a high hat crown was a particularly fashionable hat during this period, worn by women with their hair pulled back on their heads. The face was framed by the stiff wide brim of the bonnet, which tapered towards the back of the head. Wide ribbons tied into a bow beneath the chin were used to hold it on the head. Ladies wore linen caps at home, which got progressively more subdued.

Smooth hairstyles without curls gradually replace the fashionable complex and high hairstyles with various buns, asymmetrical curls and whipped curls, hair bows, and loops that were popular at the beginning of this period.

The English fashion of "a la Clotilde," which features pigtails close to the ears, is currently in vogue.

Style – second Rococo (1840-60s)

The French monarchy, which had been overthrown at the end of the 18th century during the Great French Revolution, had been reinstated by the middle of the 19th century. The Rococo style, one of the most striking fashion trends in the history of the French aristocracy on the eve of the revolution, was revived along with the restoration of the old order. It was referred to as the "second Rococo" or the "exhibition style" only now.

The new French Empress Eugenie’s fondness for the time of French Queen Marie Antoinette and socialite ladies’ infatuation with the attire of the Marquise de Pompadour, one of the most well-known women of the eighteenth century, had an impact on the resurgence of this fashion in women’s apparel during the nineteenth century.

The heyday of the second Rococo (1850–1860s) and the small crinoline (1840–50s) periods comprise the second Rococo style. A return to fashion was seen in lush skirts with crinolines, corsets, oriental-style shawls, voluminous sleeves, bows, puffs, ruffles, lace, and ribbons.

During the mid-1800s, women once more attempted to cover up their bodies’ natural contours with layers of clothing. They had to put on pantaloons, stockings, and a long white shirt as undergarments before they could leave. Put on a whalebone corset and tighten. A slim waist is once again in style, just like it was during the 18th-century Rococo period.

A crinoline—a frame made up of up to six petticoats—completed the preparations. Horsehair was used to make the first one. It was knee-length in length. You could then put on a dress only after this.

The crinoline was better by the middle of the century. The frame has been made of elastic steel hoops since 1859. There will be a boom in crinolines.

Women in the 1850s and 1860s were drowning in extraordinarily large skirts. Some of these dresses had hems that measured 180 cm in diameter. Not only do noblewomen wear such gowns, but so do moderately well-off women. An all-purpose women’s dress model featuring a detachable bodice was created. The dress’s top changed with the time of day; in the evening, it had open shoulders and arms. Something closed, wearing the same skirt during the day.

Ladies’ clothing starts to become extremely ostentatious and ostentatious. Heavy-fabric draperies take the place of simple designs and light fabrics. Velvet, brocade, satin, wool, damask, and silk are used in the sewing of ball gowns and daily wear. Something new emerges: the "gauze crystal" fabric, which is made of two-colored threads.

Additionally, the colors changed. Light hues nearly vanished. Dark-colored fabric is mostly used in the sewing of ladies’ monochromatic ensembles. Checkered and striped fabric is used. Rich red, purple, and fuchsia have become popular colors since the invention of dyes.

The amount of flowers, lace, ruffles, fringe, embroidery, and artificial flowers on clothing is getting "overgrown."

Ladies were seen walking or visiting in a fitted Cossack vest, a fashionable novelty at the time.

Hairstyles became more straightforward: heavy with a knot at the back and a few curls, or smooth with a straight parting. They were adorned with tiaras and floral garlands. or swept and sanitized in the shinon.

Up to the 1860s, people wore caps and hats. Then, as clothing became more fashionable, they took the place of tiny hats.

The female fashion of the second half of the XIX century is the style of positivism (1870-80s)

Unlike "great styles" like Baroque and classicism, positivism has not permeated all forms of European art. Basically, women’s suits and applied and decorative art from the second half of the 1800s were influenced by him. For instance, it was a period of emerging impressionism and realism in painting.

Since the 1870s, the second Rococo style in women’s suits has given way to the positivist style.

There was a trend toward costume simplification in the middle of the 1800s. Tall, slender figures that fit dresses snugly are in style.

The "revolution" in the fashion industry started with the removal of crinolines, which were so wide during the second Rococo era that women could not even see where they were stepping because of the fullness of their skirts.

Initially, crinolines started to replace crinolettes, which were a type of overlay that resembled a skirt on a wire frame with a bustle worn around the buttocks. Their brief existence spanned from the late 1860s to the early 1980s.

Subsequently, bustles emerged – petite wire structures, akin to cotton pads or pillows, affixed beneath the dress beneath the waist.

The buttocks area of the skirt was designed to have volume and splendor using all of these devices. Over time, the front of the skirts became increasingly narrower, and the frame structure moved back. The bustle era began, completely replacing the crinoline.

The bustled "tunik" dress took on an odd shape by the 1870s, resembling the Latin letter S: the skirts were narrow and rigidly straight in the front. Back: convex. The primary characteristic that sets apart and characterizes the positivist style is the fashionable silhouette of this era, which consists of suits and dresses with skirts that gently fit the figure and flare downward.

The dress’s train, which is the elasticized back portion that resembles a broad tail, is straight and has a lot of drapery that has been pulled back and gathered into bow folds. Additionally, the skirt material below the train was folded and taped from the inside.

The dress "tunic" has a smooth, taut bodice. Straight sleeves that taper toward the wrist. Practically no body is visible in everyday dresses; everything is covered, from the chin to the hands.

Only evening gowns are permitted to have open shoulders, a low neckline, and short sleeves.

Originally, these gowns were composed of velvet in deep hues and woolen fabric. The thin-fabric gloves, sun umbrellas, long beaded strings, tiny purses on long strings, and different tiny hats all went well with the dress "tunic."

Hairstyles with intricate styling are once again fashionable. Bangs have short, curly ones. False curls are occasionally applied. Women’s hats embellished with flowers and feathers started to resemble tattoos at the turn of the century.

Around this time, a variety of homewear styles emerged, including bonnets, robes with kimono sleeves, peignoirs, and wide-cut outerwear. Positivism-inspired ball gowns with their small train, stand-up collar, and horizontal neckline set them apart from conservative daily wear.

Together with the "tunic" dress, a "taillier" suit—a horsewoman’s suit—as well as the first liberated women, or feminists—also surfaced. The outfit was akin to a men’s three-piece suit and included a jacket, blouse, and skirt. Women accessorized it with starched collars and cuffs, as well as ties inspired by men’s fashion.

Another style of stylish clothing was made of taffeta and was occasionally referred to as "vocalis" (sonorous). Frills adorned the sleeves and neckline, and fringe trimmed the bottom of the skirt, creating a unique "frou-frou" sound as you walked. This was regarded as highly stylish.

Naturally, European (French) trends were generally followed in Russian fashion. However, the "a la russe" style emerged in the middle of the 19th century as a result of the Slavophile movement, which opposed copying new Western trends. Women wore straightforward outfits devoid of any extra embellishments. A little bow or drapery took the place of the bustle.

Era	Typical Fashion
Early 1800s	Empire waist dresses with high necklines, light fabrics, and simple designs
Mid 1800s	Full skirts supported by crinolines, fitted bodices, and lace details
Late 1800s	Hourglass silhouettes with corsets, bustles, and heavy fabrics

Examining 19th-century Russian fashion via the prism of portraiture provides an intriguing window into the grace and refinement of the time. The attire portrayed in these pieces of art not only mirrors the current styles but also conveys the social standing, cultural norms, and aesthetic preferences of the era.

These portraits depict a world in which fashion played a crucial role in defining identity and expressing oneself, as seen by the fine details and opulent fabrics they feature. Every article of clothing, from the lavish aristocratic gowns to the more subdued middle class garb, conveys a different aspect of the social dynamics and artistic influences of the era.

Gaining an appreciation for the rich cultural legacy of Russia and the influence of clothing on the portrayed women’s identities is made possible by studying the fashion of this era. These portraits serve as windows into a bygone era when fashion was a potent symbol of prestige, beauty, and custom in addition to being beautiful artistic renderings.

Artists’ portraits from the 19th century depicted Russian women’s fashion, which combined European influences, elegance, and tradition to create elaborate dresses, pricey fabrics, and elaborate accessories that emphasized the women’s social standing and cultural identity.

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