1850s fashion in Western and Western-influenced clothing is characterized by an increase in the width of women's skirts supported by crinolines or hoops, the mass production of sewing machines, and the beginnings of dress reform. Masculine styles began to originate more in London, while female fashions originated almost exclusively in Paris.
Women's fashion
Gowns
In the 1850s, the domed skirts of the 1840s continued to expand. Skirts were made fuller by means of flounces (deep ruffles), usually in tiers of three, gathered tightly at the top and stiffened with horsehair braid at the bottom.
Early in the decade, bodices of morning dresses featured panels over the shoulder that were gathered into a blunt point at the slightly dropped waist. These bodices generally fastened in back by means of hooks and eyes, but a new fashion for a [jacket] bodice appeared as well, buttoned in front and worn over a chemisette. Wider bell-shaped or pagoda sleeves were worn over false undersleeves or engageantes of cotton or linen, trimmed in lace, broderie anglaise, or other fancy-work. Separate small collars of lace, tatting, or crochet-work were worn with morning dresses, sometimes with a ribbon bow.
Gowns were very low-necked, off-the-shoulder, and had short sleeves.
The introduction of the steel cage crinoline in 1856 provided a means for expanding the skirt still further, and flounces gradually disappeared in favor of a skirt lying more smoothly over the petticoat and hoops. Pantalettes were essential under this new fashion for modesty's sake.
Fabrics
The fabrics were made commonly of linen and now more widely available cotton, and also could be made of such materials as silk or wool, though the former two plants were most widespread.
Outerwear
Cape-like jackets were worn over the very wide skirts. Another fashionable outer garment was an Indian shawl or one woven in Paisley, Renfrewshire in a paisley pattern in imitation of Indian styles. Hooded cloaks were also worn.
Riding habits had fitted jackets with tight sleeves, worn over a collared shirt or (more often) chemisette. They were worn with long skirts and mannish top hats.
Hairstyles and headgear
Hair was dressed simply, middle parted and in a bun or wound braid at the back, with the sides puffed out over the ears or with clusters of curls to either side in imitation of early 17th century fashions.
The indoor cap became little more than a lace and ribbon frill worn on the back of the head.
Beginnings of dress reform
1851 marked the birth of the Victorian dress reform movement, when New England temperance activist Libby Miller adopted what she considered a more rational costume: loose trousers gathered at the ankles, topped by a short dress or skirt hemmed just below the knees. The style was promoted by editor Amelia Bloomer and was immediately christened a Bloomer suit by the press. Despite its practicality, the Bloomer suit was the subject of much ridicule in the press and had little impact on mainstream fashion.
Style gallery 1850–1854
The Bloomer suit, a short dress worn over full trousers gathered at the ankle, briefly adopted by dress reformers in the United States in the 1850s. Male outdoors attire and female riding-habit of 1850 (New York). 1851 Parisian fashion plate shows the fashionable use of fabrics printed â la disposition (with border-prints) on skirt flounces and for bodices and sleeves. Madame Moitessier wears a black off-the-shoulder gown with ruffles. She wears a brooch and bracelets on both wrists. France, 1851. Mrs. Coventry Patmore wears a small fancy-work collar and a ribbon at her throat. Her thick, wavy hair is parted in the center and poufed over her ears, 1851. Matilde Juva-Branca wears a dark morning dress with a lace blouse or chemisette and cuffs and short leather gloves. Her hair is parted and worn in long sausage curls, 1851. Doña Josefa García Solis wears a simple green satin dress with laced short sleeves over a linen chemise or chemisette. Her lace cap is trimmed with rose-colored tassels and ribbons, and she carries an elaborate fan, 1852. Anna Henriette Stelzner wears a low cut lace trimmed silk dress with an elaborated bow ornament, 1852. Doña Amalie de Llano y Dotres, Condesa de Vilches wears a bright blue dress with a tiered skirt. The long pointed bodice is trimmed with horizontal bands of ruching over a chemise or chemisette (or an underlayer styled to look like a chemise), 1853. A reform corset from Madame Caplin. This corset was adjusted to the body, not to the dress as before. African American woman with Afro-textured hair.