1890s in Western fashion

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Expatriate Americans Mr. and Mrs. Isaac Newton Phelps-Stokes in the easy, tailored outdoor fashions of 1897
1897 advertisement showing woman with unskirted garments for bicycle riding

Fashion in the 1890s in European and European-influenced countries is characterized by long elegant lines, tall collars, and the rise of sportswear.

Women's fashions[edit]

Fashionable women's clothing styles shed some of the extravagances of previous decades (so that skirts were neither crinolined as in the 1850s, nor protrudingly bustled in back as in the late 1860s and mid-1880s, nor tight as in the late 1870s), but corseting continued unmitigated, or even slightly increased in severity. Early 1890s dresses consisted of a tight bodice with the skirt gathered at the waist and falling more naturally over the hips and undergarments than in previous years.

The mid-1890s introduced leg o'mutton sleeves, which grew in size each year until they disappeared in about 1906. During the same period of the mid-1890s, skirts took on an A-line silhouette that was almost bell-like. The late 1890s returned to the tighter sleeves often with small puffs or ruffles capping the shoulder but fitted to the wrist. Skirts took on a trumpet shape, fitting more closely over the hip and flaring just above the knee. Corsets in the 1890s helped define the hourglass figure as immortalized by artist Charles Dana Gibson. In the very late 1890s, the corset elongated, giving the women a slight S-curve silhouette that would be popular well into the Edwardian era.

Sportswear and tailored fashions[edit]

Charvet dress (1898) with shirtwaist and chemisette.

Changing attitudes about acceptable activities for women also made sportswear popular for women, with such notable examples as the bicycling dress and the tennis dress.

Unfussy, tailored clothes were worn for outdoor activities and traveling. The shirtwaist, a costume with a bodice or waist tailored like a man's shirt with a high collar, was adopted for informal daywear and became the uniform of working women. Walking suits featured ankle-length skirts with matching jackets. The notion of "rational dress" for women's health was a widely discussed topic in 1891, which led to the development of sports dress. This included ample skirts with a belted blouse for hockey. In addition, cycling became very popular and led to the development of "cycling costumes", which were shorter skirts or "bloomers" which were Turkish trouser style outfits. By the 1890s, women bicyclists increasingly wore bloomers in public and in the company of men as well as other women. Bloomers seem to have been more commonly worn in Paris than in England or the United States and became quite popular and fashionable. Swimwear was also developed, usually made of navy blue with a long tunic over full knickers.

Afternoon dresses typical of the time period had high necks, wasp waists, puffed sleeves and bell-shaped skirts. Evening gowns had a squared decolletage, a wasp-waist cut and skirts with long trains.

Influence of aesthetic dress[edit]

The 1890s in both Europe and North America saw growing acceptance of artistic or aesthetic dress as mainstream fashion, especially in the adoption of the uncorseted tea gown for at-home wear. In US in this period, Dress, the Jenness Miller Magazine (1887–1898) [1], reported that tea gowns were being worn outside the home for the first time in fashionable summer resorts.

Hairstyles and headgear[edit]

Hairstyles at the start of the decade were simply a carry-over from the 1880s styles that included curled or frizzled bangs over the forehead as well as hair swept to the top of the head, but after 1892, hairstyles became increasingly influenced by the Gibson Girl. By the mid-1890s, hair had become looser and wavier and bangs gradually faded from high fashion. By the end of the decade, hair was often worn in a large mass with a bun at the top of the head, a style that would be predominant during the first decade of the 20th century.

Style gallery 1890–96[edit]

  1. Praskovia Tchaokovskaia wears a high-necked afternoon dress with puffed elbow-length sleeves and a fabric belt or sash, Russia, 1890–92.
  2. Afternoon dresses of 1892 have low waists and high necklines. Sleeves have a high, gathered sleeve-head and are fitted to the lower arm. Skirts are fuller in back than front.
  3. Evening gowns of 1892–3 feature short or elbow-length full, puffed sleeves and floral trimmings.
  4. City or traveling suit has full upper sleeves and back fullness in the skirt.
  5. Walking suits of 1894 show shorter skirts and matching jackets with leg o' mutton sleeves.
  6. Punch Cartoon of 1895 shows a fashionable bicycle suit.
  7. Natalie Barney in 1896
  8. Charvet advertising in 1896

Style gallery 1897–99[edit]

  1. Madame Faydou wears her hair in a knot on top of her head. Her black dress and her daughter's grey dress (probably mourning attire) have fashionable leg o' mutton sleeves, 1897.
  2. Catherine Vlasto wears a white dress with puffed elbow-length sleeves and ribbon bows. Her hair is parted in the center and poufed casually at her temples, 1897.
  3. 1897 fashion plate shows an idealized form of the fashionable figure. The jacket has an asymmetrical closure and new, smaller sleeve puffs.
  4. Bathing costumes of 1898 have nautical details such as sailor collars.
  5. Dress of 1898 shows a short, wide puff at the shoulder over a long, tight sleeve.
  6. Charvet corsage of 1898 shows a corsage by Charvet. It is a blouse of pink cambric finely plaited, and with a white cascade frill, also of cambric, down the center.
  7. Shirt-waist from Charvet in 1898 shows a shirt-waist from Charvet. It has a group of tucks down either side of the front and back from the shoulders, and in addition has two deep horizontal tucks across the front. A broad box-pleat at the centre is edged with a tiny black frill, which is also carried around the basque. The sleeves are tucked in diagonal groups.
  8. Hats from manufacturers spring collection
  9. 1899 fashion plate shows the narrow, gored skirt and more natural shoulder of the start of the 20th century (as well as the results of "S-bend" corseting).
  10. Tea Gown of 1899 shows "Watteau back" and frothy trim.
  11. Two women in Watteau-backed tea gowns with high sashed waists, 1899.


  1. 1890s cigar box satirizes the liberating effects of wearing bloomers.

Men's fashion[edit]

Early 1890s fashion includes gray coat with covered buttons and matching waistcoat, dark trousers, short turnover shirt collar, and floppy bow tie. The short hair and pointed beard are typical. Portrait of Paul Wayland Bartlett by Pearce, 1890

The overall silhouette of the 1890s was long, lean, and athletic. Hair was generally worn short, often with a pointed beard and generous moustache.

Coats, jackets, and trousers[edit]

By the 1890s, the sack coat (UK lounge coat) was fast replacing the frock coat for most informal and semi-formal occasions. Three-piece suits ("ditto suits") consisting of a sack coat with matching waistcoat (U.S. vest) and trousers were worn, as were matching coat and waistcoat with contrasting trousers.

Contrasting waistcoats were popular, and could be made with or without collars and lapels. The usual style was single-breasted.

The blazer, a navy blue or brightly colored or striped flannel coat cut like a sack coat with patch pockets and brass buttons, was worn for sports, sailing, and other casual activities.

The Norfolk jacket remained fashionable for shooting and rugged outdoor pursuits. It was made of sturdy tweed or similar fabric and featured paired box pleats over the chest and back, with a fabric belt. Worn with matching breeches (or U.S. knickerbockers, it became the Norfolk suit, suitable for bicycling or golf with knee-length stockings and low shoes, or for hunting with sturdy boots or shoes with leather gaiters.

The cutaway morning coat was still worn for formal day occasions in Europe and major cities elsewhere.

The most formal evening dress remained a dark tail coat and trousers with a dark or light waistcoat. Evening wear was worn with a white bow tie and a shirt with a winged collar.

The less formal dinner jacket or tuxedo, which featured a shawl collar with silk or satin facings, now generally had a single button. Dinner jackets were appropriate formal wear when "dressing for dinner" at home or at a men's club. The dinner jacket was worn with a white shirt and a dark tie.

Knee-length topcoats, often with contrasting velvet or fur collars, and calf-length overcoats were worn in winter.

Shirts and neckties[edit]

Shirt collars were turned over or pressed into "wings", and became taller through the decade. Dress shirts had stiff fronts, sometimes decorated with shirt studs and buttoned up the back. Striped shirts were popular for informal occasions.

The usual necktie was a four-in-hand or an Ascot tie, made up as a neckband with wide wings attached and worn with a stickpin, but the 1890s also saw the return of the bow tie (in various proportions) for day dress.


As earlier in the century, top hats remained a requirement for upper class formal wear; bowlers and soft felt hats in a variety of shapes were worn for more casual occasions, and flat straw boaters were worn for yachting and at the seashore.

Style gallery[edit]

  1. Painter John Singer Sargent in formal evening dress, c. 1890.
  2. Another portrait of Sargent, in day dress: dark coat and waiscoat, dark red ascot, and tall collar, c. 1890. This picture shows the long, lean silhouette in fashion at this time.
  3. Oscar Wilde wears a frock coat with a pocket square, 1890s.
  4. Frederick Law Olmsted wears a tan topcoat over a gray suit, 1895.
  5. George du Maurier wears a double-breasted waistcoat with a shawl collar under his sack coat, with grey trousers. He wears square-toed shoes with spats, 1896.
  6. Country clothes: James Tissot wears breeches and high boots with a reddish collared waistcoat and a brown coat. Even with this casual outdoor costume, he wears a tie, 1898.
  7. College fashion includes a straw boater. William Beveridge at Balliol, 1898.

Children's fashion[edit]

Working clothes[edit]


  1. Reforming Fashion 1850-1914

See also[edit]


  • Arnold, Janet: Patterns of Fashion 2: Englishwomen's Dresses and Their Construction C.1860–1940, Wace 1966, Macmillan 1972. Revised metric edition, Drama Books 1977. ISBN 0-89676-027-8
  • Ashelford, Jane: The Art of Dress: Clothing and Society 1500–1914, Abrams, 1996. ISBN 0-8109-6317-5
  • Nunn, Joan: Fashion in Costume, 1200–2000, 2nd edition, A & C Black (Publishers) Ltd; Chicago: New Amsterdam Books, 2000. (Excerpts online at The Victorian Web)
  • Payne, Blanche: History of Costume from the Ancient Egyptians to the 20th century, Harper & Row, 1965. No ISBN for this edition; ASIN B0006BMNFS
  • Norris, Herbert, and Oswald Curtis. 19th Century Costume and Fashion, Mineola, New York: Dover Publications, INC., 1998. 227–229.
  • Steele, Valerie: Paris Fashion: A Cultural History, Second Edition. New York: Berg, 1998. 175–176.

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