Biedermeier is a style that has not taken root in life and art in all European countries. The Biedermeier style was most widespread in Austria, Germany, and also in Russia. He showed himself especially vividly in arts and crafts (furniture, costume).

This style began to revive somewhere in the period of the end of the Napoleonic wars (in 1815) and developed for a long time, almost until 1848 - the year of the revolution in France. It is also interesting that it received its name after the end of its existence, that is, in the period 1848 - 1850.



Recall that the word "Biedermeier" meant the name of a non-existent person, or rather, a person who was only in literary satirical works. The word bieder, translated from German, means "honest, decent, simple-minded." By adding the two parts of the word, they got the name that they gave to the new satirical character.

German writers published their works about the life of local burghers, about their pastime, about the idea of ​​a leisurely and comfortable life, using Biedermeier as the main character. And one of the German poets used the new name as his pseudonym. Soon the word Biedermeier became a household name. This word denoted the artistic trends of that time.

Fashion is becoming more accessible to all classes. But it is still dictated by France and England.

The time of Biedermeier fell in Russia during the reign of Emperors Alexander I and Nicholas I. These years were marked by numerous balls and splendid amusements. The balls were innumerable, and some gentlemen did not have the physical opportunity to attend all the balls held.

Balls united secular society and at the same time revived trade in the cities. Sewing workshops and fashion stores were delighted with these amusements, because a few days before the start of the celebration, the ladies who received the invitation sought to purchase stunning outfits in order to delight and admiration of all those present. Sometimes ballroom toilets were made by serf seamstresses, but more often they were ordered from milliners and tailors. Many items of clothing were bought in stores.



The best Moscow clothing, footwear and accessories stores are located on Kuznetsky Most, as well as on Tverskaya Street, Petrovka and in the streets and lanes adjacent to them.

In previous years, up to 1815, a dress without a waist prevailed, which, undoubtedly, was very impractical for both figure and health. These dresses took away from life at an early age many secular beauties, since the light fabric, under which, except for underwear, nothing else was supposed, could not warm the body. In the cold season, colds, or even tuberculosis, or consumption, as they called it then, were not uncommon diseases. From about 1815 to 1820, the waist began to return to its place - above the hips. In addition, they tried to highlight it even more with lacing, that is, the corset also re-established itself, however, somewhat in a softened form.

To make the waist look thin, they began to emphasize the size of the shoulders. For this, the sleeves were made wide, especially at the top, and narrowed towards the wrist. The skirt widened downward, forming large folds. By the way, the skirt was shortened so much that one could see not only the lady's shoes flashing under it, but also her ankles, which men dreamed of, looking with lust at the ball at the young beauty running by.

By 1835, the sleeve reaches unprecedented dimensions. Soon it will begin to shrink again, returning to simpler forms.The bodice will squeeze the lady's waist even tighter, and the skirt will lengthen, overgrown with many frills, and therefore look wider and more magnificent. At this time, the ladies adored expensive Kashmiri shawls, they threw them over their shoulders and back, covering their bare shoulders and neckline. These shawls have long been brought by the British from India.

There were fashionable robes and capes, which played the role of a cloak, like in medieval beauties. The coat, as such, was not in the ladies' wardrobe. In winter, ladies wore coat-like dresses made of thick woolen fabrics. If it was too cold, a shawl or wide capes, fur capes or stoles were worn over such a dress-coat. Fur boas were often used.






In fashion, as in a mirror, the life of peoples is reflected - revolutions, victories, battles, political intrigues, lawsuits, theatrical and literary successes, salon gossip and scandals, scientific discoveries, etc.

Fabrics, garments and styles are named after famous actresses, singers and dancers. For example, the golden-beige fabric, which was popular in the 30s of the 19th century, was called creprashel, after the French tragic actress Rachelle. Or the celestial ethereal hat - Taglioni's hat - named after the dancer who danced like a marshmallow on stage and dressed like a spring cloud.

In honor of the incomparable Italian Taglioni, who was touring in St. Petersburg, were named hats, turbans, perfumes and even caramel. Talma - in France in the 19th century. a short man's cape that covers the shoulders and chest, and in Russia - a woman's long cape without sleeves - named after the French actor F. Talma.

At that time, checkered and striped fabrics, as well as fabrics with a light pattern, became very fashionable. Flowers on the fabric will be a little later.

The female Biedermeier hairstyle could be called a work of hairdressing. Hairdressers came to the lady at a certain time, and for a long, long time created fancy curls on her head. At the same time, they brought to their clients all the city gossip and behind-the-scenes secrets of the noble ladies of the capital.

On the female head, as a rule, hair was laid in the form of large curls or in the form of "cutlets" from braids on the temples. Gradually, playful curls were transformed into tight bunches or crowns of braids at the temples or on the crown. Long hair was pulled up and laid on the crown of the head in the form of curls or various hairpieces.

As adornments of hairstyles, there were certainly flowers, feathers, ribbons, lace, bows and bows and, of course, jewelry. The strongly open neck and deep cleavage made it possible to "highlight" the head, and therefore a complex hairstyle was of great importance.






Headdresses were of various types: bonnets, wide-brimmed hats, turbans, hoods. The caps were richly decorated along the edge with ruffles, lace or ribbons. Hats with huge brims were decorated with flowers and feathers. All the hats were tailored so as not to damage the lady's curls. Hats and hairstyles were literally completely covered with flowers, feathers, ribbons and flounces.

Most of the shoes in the ladies' wardrobe were without heels. They were flat, low shoes with ribbons. But already laced shoes appear, with small heels and a blunt toe. Shoes were made not only from leather, but also from silk fabrics. The lady's stockings on her legs were white, sometimes in pastel colors, and the linen was snow-white, embroidered with all kinds of embroidery in white satin stitch.





Brooches, necklaces, bracelets, tiaras, combs, pins, long earrings, jewelry made from pearls and, of course, from precious stones were in fashion. At this time, the feronniere (decoration on the forehead) became very fashionable.



And so, a lady with a thin waist, a slightly cropped fluffy skirt, with huge sleeves and carefully curled and laid curls at the temples is a characteristic embodiment of the Biedermeier style.

In ballroom fashion until 1823, the apmir style was kept, but over time it gave way to a new direction. Biedermeier became dominant in this area as well. The decoration of the dresses was intricate and extremely fancy, sometimes in one dress there were up to a dozen different bows and bows ... The ball gown was strongly lowered, it was sewn with a crinoline, and the best jewelry was worn.



At this time, a blouse appears as a new piece of clothing. During the day, the ladies changed clothes several times. Everything depended on the hour and location, as well as on the type of occupation. For example, home morning dress, walking dress, business dress, horse riding and carriage riding dress, visit dress, evening dress, ballroom dress, etc. The dress was accompanied by a hat, gloves, a fan and an umbrella.

In the makeup, in the first place was the whiteness of the lady's skin, and a slight blush. The makeup was subtle, pallor and fragility were appreciated. Fragility and elegance, romance and dreaminess - these are some of the characteristics of a woman of this era.





From this period, ladies began to be involved in active life. In the house of the most active and educated ladies of the secular society, it was established to organize their own literary and musical societies, in which one could learn the latest creative successes of writers, musicians and actors, as well as read or perform their own newly composed works.

These salons were the centers of the cultural life of Moscow or St. Petersburg. And very often the owner of such a salon herself was an extraordinary person who received an excellent education. For example, Zinaida Volkonskaya, in whose salon A.S. Pushkin, who dedicated a poem to her, E.A. Baratynsky, P.A. Vyazemsky, the young poet D.V. Venevitinov and many other cultural figures, known for her stage and musical talent, love of science and arts.



However, let us return to the literary hero Biedermeier, whose cheerful disposition so liked all readers of Europe. He turned out to be a sober and calculating rich man with a life acumen and a business mind. Therefore, the Biedermeier style has formed the person who, although he imitates the aristocrats, but his culture is dominated by well-being and comfort. Mr. Biedermeier knows how to count money so much that everything costs him less. That is why cheap imitations of expensive fabrics, furniture, interior items gradually began to come into fashion.