The most interesting and unusual period in the fashion of the 19th century was during the dominance of the Biedermeier style in Europe. This style in European costume existed almost in parallel with style romanticism in the 1820-1840s.



Austria is considered the birthplace of the Biedermeier style. The very name of the style comes from the collective pseudonym of several poets of the 19th century - Herr Biedermeier. Under the given pseudonym of the poets von Scheffel, Ludwig Eichord and Adolf Kasmaul, parody poems were published in German-language magazines.

The purpose of such parodies was to play a trick on the poems of ordinary graphomaniacs (small traders, provincial teachers), with letters from which all editorial offices of the first half of the 19th century were literally inundated.



The Biedermeier style is an urban style. The style of the 19th century burghers. So, in the paintings of this period, residents of cities appear at work, on a walk, on vacation. For example, paintings by the German artist Karl Spitzweg. Or the Gallery of Beauties by the artist Josef Stieler - portraits of both princesses and ordinary townspeople. This series of paintings was created by order of Ludwig I - King of Bavaria.

In Russian art, the Biedermeir style can be attributed paintings by Vasily Tropinin - for example, "Zolotoshveika" or "Lacemaker".



The Biedermeier style is a cozy style of city dwellers who value work, but who are already able to afford luxury. The interiors in the Biedermeier force give home comfort - these are light wallpaper with a floral pattern, upholstered furniture covered with chintz fabrics and stuffed with horsehair, simple beds that have lost canopies, and many pots with indoor plants.



The Biedermeier style was most widespread in German-speaking countries.



As for the costume in the Biedermeier style, the most striking features of the costume in this style can be seen on the example of women's dresses of the first half of the 19th century. While in a men's suit, the Biedermeier style is very similar to the romanticism style.


The dress in the Biedermeier style was somewhat reminiscent of a balloon - the same round and voluminous. And this is hardly accidental - the first balloons flew into the sky just in the 19th century. And their passengers were not only men, but also brave ladies in their uncomfortable outfits.



Biedermeier-style dresses have always had a wide fluffy skirt. Special rollers were sewn into it to give it a rounded shape. At the same time, there were no frames under the skirt. There were also no many petticoats.

In the days of the Biedermeier style, women completely dispensed with one underskirt and sewn-in bolsters. Also, the skirt of dresses of this style becomes a little shorter - it does not cover the ankles of the legs. An impermissible liberty for those times.



Ballroom dresses of the Biedermeier style were necessarily with a neckline and open shoulders. With such dresses, they wore expensive shawls made of Kashmir wool, which were brought to Europe from India. The classic combination is a white dress and a red shawl. By the way, as for the colors of the Biedermeier style dresses, girls most often wore dresses of lighter colors, and women - dresses of dark colors.



The sleeves of the ball gowns were short and long gloves were worn with them. There is always a belt at the waist - with a bow or a buckle. The purpose of the belt is to visually emphasize the thin waist.



Everyday dresses did not have a neckline. The sleeves of these dresses were long. Short gloves were worn with casual dresses, as well as sun umbrellas - aristocratic pallor is in fashion. Lace kerchiefs could be thrown over the shoulders. The so-called fishy headscarves. On the head is a bonnet hat.



Biedermeier hairstyles were also memorable. Most often asymmetrical, with loops and hair bows. And also with whipped and curled curls.

About sleeves

Special attention should be paid to the sleeves of Biedermeier style dresses. The sleeves of these dresses have always been wide and voluminous.



Very often the sleeve of the dress consisted of two parts. Ball gowns had an inner sleeve - short, tight and lined with fluff or cotton. The upper sleeve of ball gowns could be long and sewn from translucent fabrics or lace.

But most often, ball gowns were with short puff sleeves - a voluminous lantern sleeve ending with a cuff.



Dresses with gigot sleeves were also worn - a very wide sleeve at the shoulder and gradually tapering to the cuff at the elbow or wrist. In Russia, such a sleeve was jokingly called "ram's leg".

Casual dresses most often had a simple one-piece sleeve, into the upper part of which a whalebone was sewn into the upper part to add volume.


A distinctive feature of the male Biedermeier style costume is its silhouette, which partly repeats the silhouette of the female costume of this period. Namely, broad shoulders and a narrow waist. Otherwise, the men's suit was in many ways similar to the men's romantic style suit.



Tailcoats in the Biedermeier style were sewn strictly at the waist. At the same time, sewn shoulder pads and a wide sleeve in the upper part were attached to the tailcoat. Very often, due to the cotton lining of the tailcoats, they were enlarged on the chest.



Lighter trousers and vests were worn with a tailcoat. If the tailcoat was dark, then the vest could be bright. Very often red vests or striped and checked vests were worn. Striped or checkered fabric was used not only for sewing men's vests, but also for sewing everyday women's dresses.



A coat during this period is most often worn as outerwear. Top hats, walking sticks, gloves, scarves, curls and sideburns are in fashion, which is in line with dandy fashion.



One of the fashionable novelties of that time was the English havelock cloak. Cloak - sewn of cloth and with a bright contrasting lining. This cloak did not have sleeves, but there was a cape and slits for the arms. The cloak was voluminous and was often worn for going to the ball, since the tailcoat did not wrinkle under it.