elegance in grief MOURNING ATTIRE

How the Victorian Era Shaped the Rituals and Fashion of Grief

The 19th century, especially the Victorian era, transformed mourning into a deeply ritualistic—and surprisingly fashionable—practice. Queen Victoria earned the title "the Mourning Queen" due to her lifelong grief following the death of her beloved husband, Prince Albert, in 1861. Devastated by his loss, she wore black mourning attire for the remaining 40 years of her life, setting a public example of deep and enduring sorrow. Her unrelenting devotion to mourning not only influenced fashion but also solidified strict social norms around bereavement in the Victorian era, making mourning attire a symbol of both personal grief and social respectability.

Black is always black in one sense of the word, but whether there is a bright or a dull finish to the cloth, a narrow or wide cord in the weave, completely changes the whole appearance and makes the material suitable for mourning, or most eminently unsuitable, so that, to critical women, a figured, bright-looking, all-black gown is quite as inappropriate as would be a colored gown for anyone in deep mourning.

“New York Fashions: Mourning Wear,” Harper’s Bazaar, January 30, 1897, 87, ProQuest (125056118).

For women, grieving was not just emotional but also sartorial, with widowhood demanding four years in black. Mourning attire was divided into two stages: full mourning and "half-mourning." In full mourning, widows draped themselves in head-to-toe black, embodying somberness itself. But a year later, half-mourning brought a breath of change, allowing muted shades of purple and gray into their wardrobes—a small but powerful shift.

Originally, such customs were exclusive to the upper classes. However, the rise of the middle class during the Industrial Revolution spread these practices across society. The demand for mourning attire soared, prompting stores to create entire sections dedicated to this solemn but essential aspect of life.

American mourning customs echoed those of the UK, with black attire firmly taking hold by the late 1800s. Today, the tradition of wearing black to funerals still resonates in Western culture. However, globally, mourning is not a monochrome affair—many cultures and religions mark loss with vibrant or symbolic colors, showcasing the diversity in humanity’s expression of grief.

FASHION & STYLES

Victorian women’s clothing evolved significantly from the early to late 19th century, reflecting the social norms, values, and technological advancements of the time. Women's fashion during the Victorian era (1837–1901) was defined by elaborate designs, heavy fabrics, and a focus on modesty and femininity, with distinct silhouettes marking each phase of the period.

Hideous Weepers: Mourning Crape in the 19th Century

Early Victorian Era - 1830s-1850s

In the early Victorian era, women wore dresses with full, bell-shaped skirts supported by crinolines or layers of petticoats. The bodices were tight-fitting, often featuring low, sloping shoulders and small waists, emphasizing an hourglass figure. Corsets were essential for achieving this silhouette, creating a sharply defined waistline. Sleeves were often wide at the top and tapered toward the wrists, and dresses were adorned with lace, ribbons, and embroidery. Fabrics like silk, satin, and velvet were popular for formal wear.

Mid-Victorian Era - 1860s-1880s

As the era progressed, fashion shifted. The skirts became narrower in the front but fuller in the back, giving rise to the use of bustles—a padded or metal structure worn at the back to add volume. Bodices remained tight and were often high-necked, reflecting the era’s emphasis on modesty. Day dresses typically had long sleeves and high collars, while evening gowns featured short sleeves, and lower necklines. Materials became lighter with the introduction of tulle, gauze, and fine muslins.

Late Victorian Era - 1890s

In the 1890s, fashion shifted once again with more practical and structured designs. Skirts became simpler and less voluminous, and the bustle disappeared, replaced by an A-line silhouette. Sleeves grew dramatically large, known as leg-of-mutton sleeves, while bodices were still tightly fitted, emphasizing the waist. This period also saw the rise of tailored, masculine-inspired clothing for women, particularly in outdoor and sporting attire.

Accessories and Undergarments

Throughout the Victorian era, accessories such as gloves, bonnets, shawls, and parasols were essential for completing a woman's ensemble. Undergarments like corsets, crinolines, and bustles played a crucial role in shaping the figure according to the desired silhouette of each decade.

Victorian fashion reflected the ideals of modesty, femininity, and status, with clothing becoming increasingly elaborate and ornate for the wealthy, while simpler, more practical versions were worn by the lower classes. The period’s fashion is iconic for its elegance, attention to detail, and its ever-changing silhouette.

Pigeon-breast Silhouette

Victorian jacket styles featuring the pigeon-breast or pigeon-bosom silhouette were popular in the late 19th and early 20th centuries, particularly during the 1890s and early 1900s. This style created a distinctive, rounded, and voluminous shape at the front of the bodice, resembling a pigeon’s puffed chest. To achieve this look, jackets were designed with extra fabric at the front that was often loosely gathered or pleated at the waist, giving a full, blouse-like effect. The waist itself was cinched tightly, emphasizing a dramatic hourglass figure, which was further accentuated by wide, structured sleeves, often known as leg-of-mutton sleeves. The pigeon-bosom style reflected the era’s ideal of femininity, emphasizing softness and curves, while maintaining a refined and elegant appearance.

The Dickey

The dickey (or dickie) originated in the 19th century as a detachable shirt front, designed to give the appearance of wearing a full shirt or blouse without the bulk. Named from Cockney slang, "dicky dirt" (shirt), the dickey was a practical solution for both men and women. For women in the Victorian era, it allowed them to achieve the fashionable high-collared, tailored look without wearing multiple layers beneath their dresses. Made from stiffened fabric like linen or cotton, women’s dickeys were often adorned with lace, embroidery, or ruffles, and they were used to dress up day or evening outfits, offering a polished, modest appearance while reducing the need for laundering full garments.

VICTORIAN CAPES

Victorian women's capes were elegant, versatile outer garments that draped over the shoulders and were often worn as a fashionable and practical layer. Capes varied in length, from short styles that barely covered the shoulders to longer versions that reached the floor. Made from materials like silk, velvet, or wool, capes were typically lined with luxurious fabrics and often trimmed with lace, fur, or intricate embroidery.

Styles and Usage

Early Victorian Period (1830s-1850s): Capes were long, voluminous, and often embellished with ribbons, tassels, or fringe. These capes complemented the full skirts and wide silhouettes popular during this time.

Mid-Victorian Period (1860s-1880s): As fashion became more streamlined with the advent of the bustle, capes were designed to be shorter and fitted, often falling to the waist or hips. The "circular cape," which wrapped fully around the body, became popular, as did capes with slits for arms.

Late Victorian Period (1890s): In the final years of the era, capes became more decorative, with detailed embroidery, beadwork, and lace. Fashionable capes were often worn for evening events, while simpler styles were used for everyday wear.

Symbolism and Function

Capes were not only functional for warmth but also served as a status symbol. Women from the upper class would often wear capes made from fine fabrics and adorned with luxurious decorations, while simpler wool capes were worn by the lower classes. They could be paired with evening gowns or walking dresses, depending on the occasion.

Victorian capes are notable for their elegant designs and craftsmanship, embodying the fashion trends and societal norms of the time.

VICTORIAN MANTLES

In Victorian fashion, a mantle referred to a type of outer garment worn by women, characterized by its loose-fitting, cape-like design that draped over the shoulders and upper body. Serving both as a practical item for warmth and a fashionable accessory, mantles varied in length, style, and material throughout the Victorian era.

Evolution and Styles

Early Victorian Era - 1830s-1850s: During this period, mantles were typically long and flowing, often reaching the ankles. They were designed to accommodate the full skirts and crinolines fashionable at the time. Materials such as wool, silk, and velvet were common, with embellishments like lace and ribbons.

Mid-Victorian Era - 1860s-1880s: As fashion evolved, mantles became shorter, adapting to the changing silhouettes that included bustles and narrower skirts. The mantelet, a shorter version of the mantle, emerged, resembling a cape or shawl that covered the shoulders and chest. These were often made of lighter fabrics and adorned with decorative elements.

Late Victorian Era - 1890s: In the final decade of the 19th century, mantles reflected the era's eclectic fashion trends. They varied widely in style, from simple, unadorned designs to elaborate creations with intricate detailing. The length and fit also varied, with some mantles extending to the waist and others reaching the hips.

Function and Significance

Beyond their practical use for warmth, mantles were a significant fashion statement, reflecting a woman's social status and personal style. The choice of material, color, and decoration often indicated the wearer's wealth and taste. For instance, velvet mantles with fur trims were considered luxurious and were typically worn by affluent women.

VICTORIAN DOLMANS

The Victorian dolman was a type of outerwear popular for women in the mid to late 19th century. It was a cross between a cape and a jacket, characterized by wide sleeves that often blended into the garment's body, giving it a loose, flowing appearance. The dolman typically extended to the waist or hips, though longer versions existed. It was often worn over full skirts and bustles, accommodating the voluminous fashions of the time.

Key Features

Sleeves: The dolman’s most distinctive feature was its wide, cape-like sleeves, often fitted at the wrists but loose and flowing at the top. The sleeves were sometimes integrated into the bodice, giving the impression of a continuous draped fabric.

Materials and Decoration: Dolmans were typically made from luxurious materials like silk, velvet, or wool, often lined with fur for warmth. They were richly decorated with lace, fringe, or elaborate embroidery, making them a fashionable choice for both day and evening wear.

Fit: While loose around the arms and shoulders, the dolman was generally fitted through the torso, emphasizing the waist, and was designed to complement the structured undergarments and tight bodices of the time.

Usage and Fashion

The dolman was a stylish alternative to cloaks or shawls and became particularly popular during the bustle era of the 1870s and 1880s. It allowed women to stay warm while still showcasing the fashionable silhouette of the time, without completely covering their elaborate dresses.

Dolmans were often worn by upper-class women as a symbol of elegance and status, with more ornate versions being reserved for formal occasions.

MOURNING HATS

Mourning hats were typically made of black materials such as crepe, silk, or straw and were often heavily adorned with veils, particularly in the early stages of mourning. The veils, usually made from crape or fine lace, were long and dense, designed to cover a woman's face, signifying both modesty and sorrow.

In the early stages of mourning, known as "deep mourning," the hats were simple, somber, and devoid of bright or reflective embellishments. As the mourning period progressed to "half-mourning," lighter fabrics and modest decoration, such as black ribbons, jet beads, or subdued floral accents, were sometimes incorporated into the hats. The length and severity of the veil often diminished as well.

These mourning hats, like other mourning attire, were a reflection of social status and were meticulously crafted to follow the customs of mourning, which could last for months or even years depending on the mourner's relationship to the deceased. They symbolized a woman's respect for the deceased and her adherence to the strict etiquette surrounding death during the Victorian era.

MOURNING FOOTWEAR

During the Victorian mourning period, women's shoes were designed to align with the somber and strict etiquette of grief, emphasizing simplicity and modesty. Mourning shoes were typically made of black materials such as leather, silk, or satin, and were devoid of flashy decorations or bright colors, reflecting the subdued nature of mourning attire.

In keeping with the understated style of mourning dress, these shoes were often simple in design, with low heels and minimal ornamentation. Any embellishments, if present, were typically subtle and made from black materials, such as jet beads or lace. The shoes were crafted to complement the overall mourning ensemble, which could include long, heavy skirts and veils, ensuring that no element of a woman’s appearance appeared too ornate or celebratory during this period of grief.

As with other mourning attire, shoes also followed the different stages of mourning. In "deep mourning," the shoes remained completely black and plain, while during "half-mourning," slightly more decorative elements, such as bows or ribbons in muted shades like gray or lavender, might have been introduced as a sign of easing grief. Women's mourning shoes were practical and symbolic, mirroring the broader Victorian fascination with death and the customs surrounding it.

MOURNING HANDBAGS

Mourning handbags became a significant accessory, reflecting the strict societal rules regarding grief and attire. These bags were typically made from somber materials such as black silk, crepe, or bombazine, often adorned with jet beads or black lace. They complemented the all-black mourning wardrobe that women were required to wear, sometimes for extended periods, depending on their relation to the deceased.

Mourning handbags were not only a fashion statement but also a symbol of respect and adherence to the cultural expectations surrounding death. The bags were often simple in design, avoiding bright colors or excessive ornamentation, as such displays were considered inappropriate during mourning. This period also saw the emergence of memento mori—a practice of carrying or wearing items that reminded one of the inevitability of death, which could be reflected in the design of mourning handbags through subtle symbolic motifs. These accessories were part of the broader Victorian fascination with death and remembrance.

HAIR JEWELRY

“Hair is at once the most delicate and lasting of our materials and survives us, like love. It is so light, so gentle, so escaping from the idea of death, that, with a lock of hair belonging to a child or friend, we may almost look up to heaven... I have a piece of thee here.” — Godey's Lady Book magazine, 1860

Mourning jewelry made from hair became a deeply personal way for people to keep a physical connection to their lost loved ones. The practice involved weaving strands of the deceased's hair into intricate designs, which were then incorporated into rings, lockets, brooches, and bracelets. Hair was often arranged in delicate patterns—such as flowers, braids, or loops—symbolizing the enduring bond between the living and the dead. These pieces not only served as sentimental keepsakes but also reflected the mourning customs of the time, where tangible mementos of the deceased provided comfort. As unique and intimate creations, hair jewelry allowed mourners to carry a part of their loved one with them, offering solace during a time of profound grief.

The rise of mourning jewelry sparked an entire industry dedicated to serving the bereaved, particularly in the 19th century. Jewelers and artisans quickly recognized the demand for these sentimental pieces, and businesses specializing in mourning jewelry began to flourish. In major cities like London and New York, workshops and retailers opened, offering everything from bespoke commissions to more affordable, pre-made options. Some businesses even employed entire towns in the production of hair jewelry, with skilled workers meticulously weaving strands to create intricate patterns. The introduction of mail-order catalogs further expanded the reach of these businesses, allowing people from rural areas to purchase mourning jewelry without visiting a city shop. Competition grew fierce as businesses offered guarantees of authenticity, reassuring customers that the hair used in their jewelry truly belonged to their loved ones. This commercialization of mourning jewelry turned personal grief into a profitable enterprise, with retailers catering to the emotional and symbolic needs of their customers.