Gilded Age Fashions // A Deep Dive into 1880s Style

Hello everyone, I'm Rebecca and welcome back to my channel. Today we are going to finally be returning to my decade deep dive series. You all have been requesting a return to this series for ages and what with the release of season three of HBO's The Gilded Age, whose first episode has just come out, it seemed like the perfect time to take a close look at how fashions changed year by year in the 1880s. Now season one of The Gilded Age is set in 1882 and season two is set in 1883, so one would presume that this season we have moved on to 1884. And actually in my video from a few years ago on the costumes of The Gilded Age season one, I do an even deeper dive specifically into 1882 fashions, looking month by month at how fashions change within that year. So if you have not seen that video, I definitely recommend that you go check it out after you watch this one. It'll be linked down below in the description. Now I know it has been quite some time since my 1870s deep dive video came out, so in case you've missed that video or you need a refresher and want to start yourself right off at the beginning of the bustle period, I have linked that video right up here and also down below in the description in case you want to go check that one out and come back to this video when you're done. Because frankly when we left off in 1879, we were right in the middle of the bustle era, or more specifically the natural form portion of the bustle era. So we'll be picking up right where we left off. Now before I get into the fashion of it all though, these videos really are a ton of work to create, which is why I haven't made one in so long. So if you could please make sure to click that like button and share this video with your friends, that would really help me out. And if you're not subscribed yet, please do hit the subscribe button. And of course if you really want to go above and beyond in the form of a tip, you can leave a super thanks right below this video, or as always my Patreon and my Ko-fi are also linked down below in the description. I also do want to preface this video with the fact that these fashion trends and changes are based mainly on fashion plates, since those are the majority of images that can be actually pinpointed to a specific date. So for those not familiar, fashion plates were images that were printed in ladies' magazines of the time, showing all of the latest fashion trends, and as such fashion plates are not really a good representation of what people actually wore, since only the most wealthy would have been able to keep up with those ever-changing trends. So these small changes might not have trickled down to the middle classes until a year or more after the plate's publication date. And for many people, fashion plates may only have provided just like a bit of inspiration on how a tiny change, like the trim on a dress, could be applied to something that's already in one's closet. All the fashion plates you will see in this video can be found in the respective year folder of my bustle era Pinterest board, which I have linked down below in the description. Now then, let's get on with 1880. We're still in the natural form bustle era here, meaning that the overall look is quite slim and columnar. Many dresses do still have long trains, especially for dinner or evening, but most walking dresses are now hemmed so that no fabric is dragging on the ground at all. Dress embellishments, especially in the untrained dresses, tend to look rather droopy because there's nothing underneath to support them. The embellishments generally start at about the top of the thigh in the back, continuing down the length of the skirt, because the bodices, whether they're separate bodices or they're cut in one with the skirts, they're all very long and fitted through the hips and rear. The most popular necklines were square, V, and closed all the way up to the top. The square necklines were used for dinner and evening where they would be left open, but then in the daytime they'd be filled in, usually with soft white fabric, as with the V-neck bodices. Sleeves were fitted at the top and slim through the whole arm. For dinner, they would often be three-quarters sleeve length with ruffles at the elbow, and for evening, a very short puffed sleeve was the most common. There was a much more widespread use of patterned fabric in 1880, more than we ever saw in the 1870s for sure, and I would go so far as to say that at least 30 to 40 percent of the fashion plates that I've seen contain some sort of patterned fabric, whether that is florals, polka dots, stripes, brocades, or even very clashing plaids. Bonnets were fairly small and worn perched on top of the head, and it was most common to have the hair in a slightly tighter updo so that not much extended that far past the nape of the neck. Short, curly bangs were very popular, and we'll be seeing a lot of those. In 1881, while the look is still mostly slim and columnar, we are beginning to see just a bit more volume in the skirt draperies. We also see a very weird trend for skirts to have a few tiers of puffs down the length of the skirt, in addition to the usually ruffled, pleated, or laced tiers. And in fact, we're seeing a lot more ruffles in general than we were seeing in the last few years. Dresses are still generally hemmed shorter for walking outside, and they usually have trains for evening and dinner, though we do see some evening dresses without trains as well. Interestingly, we are seeing far less bodices cut in one with the skirts, and are instead seeing the majority of bodices, though still very long through the hips, cut as separate pieces. Necklines and sleeves are all very similar to 1880, and we're also still seeing a lot of various fabric patterns. One thing we are seeing more of, though, are bodices with a contrast fabric down the center front. Whether that is a full contrast panel, or it's closing over a separately sewn in piece like a plastron, it's definitely becoming more popular. One rather niche style that we see in many plates throughout 1881 is a Renaissance-inspired look. This particularly shows up in sleeves containing various puffed portions, and it sometimes appears in the form of doublet-shaped standing collars. This plate in particular, though, from Le Mot de Paris, is as if a man's Renaissance outfit has just been plopped on top of a bustle gown, with her hips even taking on the shape of men's pained pumpkin pants. Another trend of 1881 that I'm kind of in love with is the sudden popularity of rainbow-striped fabric. Some dresses are made with true rainbow stripes, and some with multi-color stripes, but not necessarily rainbow colors, but you see many of these stripes in a lot of plates from this year, and it actually stretches into 1882 as well. Headwear grew a little larger this year, and we tend to see more hats than bonnets. Hairstyles were basically the same as in 1880, though. I want to highlight these plates from for a couple of reasons. One, these plates tend to show larger bustles than any other fashion magazine's plates of the time. Secondly, these plates list the month on them, so we can actually see the progression of the size of the bustle from one month to the next, as it gets larger by the time we reach the end of the year. Compare these silhouettes from January with those of March and then November, and you can really see that bustle grow. In 1882, the other fashion magazines start to catch on to the larger bustle trend, and we start to see a real shift in skirt silhouette from the beginning of the year to the end of the year. For that month-to-month breakdown, let's pop back in time over for a second to my first video on the costumes of the Gilded Age. Take a look at these plates from Dare Bazaar and Ladies Bazaar. These several plates span December 1881 through December 1882, and right around July or so, you can start to see the bustle really taking shape. And by November and December, we have a small shelf-like bustle again. Just to show you a bit slower, here's December 1881, January 1882, March 1882, April 1882, June 1882, July 1882, August 1882, October 1882, November 1882, and December 1882. Isn't it so interesting to literally watch the bustle grow larger with each passing month? Thank you for that breakdown. Now those plates were all from a German fashion magazine, Dare Bazaar, and it's entirely likely that a German magazine may have been just a little bit behind a French magazine in terms of dictating fashion, which is why the bustle shape at the beginning of that progression is so much smaller than the November 1881 L'Art de la Mode silhouette. But overall, as you can see, we are experiencing the return of the more shelf-like bustle across the board by the end of 1882. Now that said, one thing to note, I mentioned way back in the 1870s deep dive video that the last bustle patents that we saw in that decade were in autumn 1877. Well, it should be noted that we still have not seen any new patents since then by this point, so it's safe to say that until we begin seeing new patents, it's unlikely that women were wearing new shapes of wired bustle supports under their skirts. And in fact, we're not going to see our next bustle patent until 1883. Of course, it is possible that some women pulled their old bustle supports out of their closet partway through 1882 before any new patents were issued. But the delay in plates versus patents could also just be explained by the fact that people weren't wearing these fashions the moment these plates were published. They were just ideas of designs, which the wealthiest women would then take to their dressmaker and have made for them. So it's likely that they wouldn't appear in real life until at least a few months later anyway. As far as other hallmarks of 1882 fashion go, we're looking at a generally columnar look with the exception of the bustle. Even with the bustle though, the skirts tend to fall straight down from the back of the bustle and they don't flare further away from the body like they did in the 70s. The most popular form of draperies is a swag across the front, which then comes around to the back in a series of tacked up puffs before falling in tails down part of the back of the skirt, usually stopping high enough away from the hem that the rows of ruffles or pleats around the bottom of the skirt was not obscured by the fall of the bustle fabric. The swag in front would be pulled fairly close to the body, creating an almost pleated effect, and it could take the form of either one single swag or two swags that were split in the center front that were then pulled over the hips. Trains have become much more uncommon and even the majority of dinner and evening gowns are no longer trained. They're not gone completely of course though, but they're definitely not seen on any of the many types of dresses that would be worn outdoors. The long cuirass bodice remained the most popular, extending all the way past the hips and it would sit over the top of the bustled overskirt, creating a very sharp smooth line before the draperies of the skirt began. In fact, this sharp line, usually ending in a point in front, was much more pronounced and fitted than the bodice hem shape of 1881. Although this cuirass bodice was the most common, you do also see bodices that were cut in one with the overskirt draperies, sometimes layering themselves very interestingly with other skirt drapery pieces, such as this green walking dress from Le Moniteur de la Mode. Patterned fabrics such as floral, stripes, plaid, polka dots, birds, and even leopard print remained popular, but even more so was playing with multiple contrasting fabrics within one outfit. Sometimes that would mean a different bustle color versus the bodice and skirt, or a different sleeve color from the rest of the bodice, or even up to three to four different colors or patterns of fabric within the same ensemble. And sometimes that worked, sometimes that didn't. You do also see other plates with an entire ensemble made out of the same fabric though, but it's less common. Although the renaissance-era inspiration of the previous year has pretty much completely gone away, in 1882 you see a lot of dresses inspired by the 18th century, such as these two that you see here. Hats are even a little bit larger than the year before, and we're also seeing larger bonnets whose brims peak up high in the front. Hair was pulled up even a bit higher and tighter than the year before, though the short bangs remain popular. By 1883 the bustle is huge. It is a large shelf-like bustle that is greatly pronounced in the back, but also tends to widen the hips as well. Skirts as a whole are much fuller and rounder than in 1882, so we've really lost that columnar silhouette of the last few years. We're also starting to see a little bit more asymmetry in skirt draperies. Skirt details seem to be a lot less fussy than they have been in the last several years. For example, in 1882 almost every skirt had various rows of trim around the hem, such as ruffles, puffs, etc. Now, although you do sometimes see ruffles on skirts, they're not necessarily all the way around the hem, and in fact many skirt hems are plain, or more commonly they have one or more contrast bands around or near the hem. The hem itself is actually beginning to raise just slightly, particularly for outdoor pursuits. Well, for the most part this just means that we see a bit of toe peeking out below the skirts. We are beginning to see more sportswear in fashion plates, some with hems as high as the ankle. Bodices still extend quite a bit past the waist, but they're significantly shorter across the board than in years past, and the overall look of the bodice is much less stiff than the bodice of 1882, with a less pronounced point at the center front. Necklines remain high for day wear, and the most common look for bodices is one that closes over a plastron in the front. The plastron shapes could extend straight and wide down the whole front of the bodice, they could start wide and end in a narrow point somewhere at the center front, either at the hem or part way down the center front of the bodice, or occasionally they could do the reverse and be wide at the waist, coming to a point by the neckline. Slightly less common was a scooped out neckline that was filled in with fluffy puffs of fabric. For evening, lower squared necklines were the most common, but scooped necklines existed as well. Day wear sleeves were usually fitted or with a very small amount of gathering into the arm's eye, creating a vertical sleeve head look. For evening, a short puffed sleeve was the most common, though you do also see sleeveless dresses. Round motifs were very popular, whether that took the form of patterned fabric or many different types of ball trimming, such as these tiny tassel balls, or this dress, adorned with lots of little puff balls. In 1883, the peaked bonnet is still very popular, and we are starting to see the return of the small perched bonnet as well. Hair has been pulled up even higher from the nape of the neck, and the bangs are fluffier and frizzier than in the previous few years. I also just need to take a moment to highlight this plate from Journal des Demoiselles. I was initially drawn to it because of the weird puffs on the lady on the right, and when I zoomed in to see what they were, which appears to be tiny puffy bouquets, I noticed the cat on the lady on the left. I don't know if she's wearing a cat decoration on her skirt, or her cat just really didn't want her to leave that day and decided to hitch a ride, but it's definitely an amusing thing to see in a fashion plate. In 1884, we are really seeing a huge variety of bodice shapes. One very strange trend was for droopy, unfitted, gathered front bodices, but even when we look at the more normal fitted bodices, we see all kinds of styles and closures. Some with a fitted gathered front, some that look like an under and over bodice together, reminiscent of the Swiss waist of the middle of the century, some that close all the way up to the neck in the center, some with plastrons of various steps, some that extend over the hips, some that come to a long point at the front hem, some that are cut in one with an over skirt, some with lapels, some that are double-breasted, and many, many that are asymmetrical. In fact, by 1884, they have really embraced asymmetry in design. Although there had been some asymmetrical draperies in the years past, it's evident here in both bodices and skirts of at least half of all of the fashion plates that I've seen. Most ensembles of 1884 involve at least two and sometimes three different fabrics. Frequently, this involves a patterned fabric and a solid one, though we do see contrasting solids as well. We are also seeing a fair amount of solid fabrics that are embellished with embroidery instead of printed or woven patterns. The embroidery would typically be used as a focal point along a border. There's no one correct way to handle skirt draperies this year. You really see all sorts in 1884. Two side poofs, swags of contrasting fabric, short in front, long in back, long in front, short in back, you name it. But the bustle overall had increased to a basically shelf-like proportion, often protruding out below the waist at a near 90 degree angle in the back. The hair is pulled up very high on the back of the head, still with those fluffy bangs. For headwear, we're still seeing both the peaked and the small perched bonnet, but we are also seeing a lot of high crowned hats with a small or medium brim, which seems to be a nod to some of the masculine influence that we begin to see in the later part of the 1880s. Speaking of which, let's move on to 1885. Overall, ensembles are simpler and more rounded in 1885. Now, by rounded, I mean that the overall bustle shape has widened at the hips, creating a rounder skirt than in the previous year. Skirts also have a simpler drape across the board. There's less individual pieces making up the bustle drape, and the drapes have less like pickups, as in the pleats or tapes holding up parts of the overskirt. Bodices are also a bit simpler, and there's a sharpness to the lines of most bodices. The deep pointed bodice is incredibly popular in both day and evening styles, and we tend to see v-shaped lines in bodice trim or lapels. Bodice decoration is also simpler, and though we are still seeing some asymmetry in bodices, most of that comes in the form of wrap style fronts, as opposed to like asymmetrical trimming. We are seeing more monotone or two-tone ensembles as well. Of the monotone ensembles, some are using just one fabric overall, but the majority are using two fabrics of the same color, but with one being a different pattern or texture than the other. For the two-tone ensembles, they're either utilizing two shades of the same color, or they are largely one single color with a contrast fabric also used, which typically lies across the color wheel from the main color. Hair is still piled quite high on the back of the head, but the fluffy bangs have begun to recede into smaller, tighter bangs. On the other hand, hats are reaching some extreme heights, and while we're still seeing some very high peaked bonnets, the most popular style is by far the tall crowned hat. Interestingly, 1886 is basically a return to 1884, with fussier, more elaborate draperies and skirts, more diversity in color within an ensemble, the wide range of bodice styles that I mentioned before, and with a softer look overall, especially in contrast to 1885. The bustle shape is diminishing slightly in the rear compared to 1884, though it's still largely shelf-like, but with more roundness to the hips and a slightly fuller skirt. In fact, I stumbled across a rather odd incident where a plate from Le Moniteur de la Mode in September 1884 was then republished as a plate in November 1886 in La France Elegante et Paris Elegante Reunie. I don't speak French. I don't know how many other plates were also republished like this, but this was such a distinctive and droopy style that it caught my attention. And in fact, we do see multiple plates where this droopy bodice style has returned in 1886. Overall, though, we are seeing a lot of masculine influence in bodice design, largely jacket style, though many are then embellished with bows at the shoulder or lace at the end of a sleeve. The masculine style is almost entirely reserved for day wear, though, as evening wear has become very princessy, often with puffed sleeves and an overall smaller neckline, frequently either square or V, which is often higher up the back of the neck than we've seen in years past. Hairstyles are a bit smaller even than in 1885, with bangs that feel a bit more individually curled. We're seeing many of the same hat styles from 1884. In other words, we've largely lost the height of the 1885 crowns. And we're also now seeing a slightly wider brimmed hat, which has an angled or turned up brim. I just wanted to take a minute to point out these really cool plates, which show both a back and a front to the dresses. In doing so, I want to thank the Pinterest user Melinda Kovacs, who, in my opinion, has the best organized boards for these eras, all separated and labeled with dates. She's labeled these plates as coming from Le Moniteur de la Mode, but the text that's actually written on the colored plate is in Russian. What's so special about these, though, is that they're accompanied by a line drawing of the backs of the garments. Now, I'm not sure if the fronts were originally published in the French magazine, and then the Russian one added the line drawings, or if the line drawings were also original. But according to the National Portrait Gallery, all of the plates in Le Moniteur de la Mode were drawn by the same artist, Jules David, from the magazine's start in 1843 until his death in 1892, about 2,600 plates in total. These plates were then subsequently issued in many other magazines in France, Europe, and America, such as, most likely, this Russian magazine. Moving into 1887, we start to see line drawings of the backs of fashions in Der Bazaar plates, too. Looking at the overall shape of 1887 fashion, the skirts have developed into a softer, more rounded bustle shape. We really begin to lose the shelf-like bustle of the past few years. It's still a very large bustle, but it's definitely more rounded than before. The skirt drapery has also largely returned to the more simple pickups of 1885. The bodices are also a little softer and more feminine than they were in 1886. Although many bodices are still jacket-inspired, they have feminine lines and trimmings, such as softer puffs of fabric, ruching, lace, bows, etc. The other widespread trend that I find fascinating is the popularity of the three-quarter sleeve. Probably at least half of the walking dresses that I saw are now shown with three-quarter sleeves, with long, likely kid leather gloves extending up to the sleeve end so that, you know, skin shows on the arm. Speaking of sleeves, another element we're starting to see a lot for daywear are puffed upper sleeves. Now, these can vary in length from a puffed cap sleeve with fitted sleeve below to an average short sleeve length puff, or even all the way to the elbow. Even within more fitted sleeves, we are beginning to see just a little bit of fullness in some of the sleeve caps. Although fitted sleeves are still common, this fullness and these puffed sleeves are certainly harbingers of future sleeve styles in the coming years. For evening, on the other hand, we have pretty much completely lost our short sleeves of 1886, and we've returned to sleeveless dresses with wider scooped or v-neck lines. There are a couple of smaller micro trends that we also see in 1887. The first one are over skirts that are picked up evenly all the way around the front and sides, creating a sort of poof shelf. The second is a return to referencing 18th century styles, particularly within bodice shapes and accessories, such as this plate from Le Mode Illustre. Another thing that we see come back into fashion are trains. Now, that said, besides evening wear, where trains have never fully gone away, the only trained day wear that we're seeing is in reception dresses, but even those have lacked trains in the last several years. For hairstyles, hair is piled even higher on the head like it was a few years prior, but now with smaller, wispier bangs. Hat crowns are starting to creep higher again, as are the peaks on peaked bonnets. Because the brims are mostly larger than they were during the very tall hat trend of 1885, I would argue that they don't seem to look as outlandishly tall, since there's more balance overall. Even the small perched bonnet has become fairly tall, and a newer bonnet seems to have evolved out of the peaked one with a wider, more open brim. 1888 is such a fascinating year in fashion because it is very much the turning point between bustle era fashion and what we think of as early 1890s fashion. Now, we do still see the bustle, at least at first, but we also start to really see it disappear and become replaced with rounded, more A-line skirts that were popular in the 1890s. In fact, even the draping of the overskirt simplifies greatly over the course of the year, and in many cases, we simply see one pickup point on the overskirt, revealing a small portion of the underskirt below. And on top of that, a lot of skirts are now made of the same fabric for both the over and the underskirt, so sometimes even these pickup points are not very obvious to see. For bodices, we see many of the same styles of 1887, though with each passing year since 1885, the hem of the bodice has shortened slightly. We're still seeing a point in front most of the time, and it does still extend past the natural waist on the sides and in the back, but not as far as each year preceding it. One particularly popular bodice style this year is the asymmetrical wrap front looking bodice, which we have sometimes seen in years past as well. However, the various jacket style bodices still remain incredibly popular. Sleeves are also much the same as the year prior, such as the two-piece sleeve with the upper puffed section, and sleeves with just a tiny bit of gathering into the armscye. While we do still see some three-quarter length sleeves, the more popular length now seems to have become the bracelet length sleeve, again worn with gloves that meet the bottom of this sleeve. And we do also of course see long sleeves as well. One area that has changed a little bit though is headwear. We are seeing both very narrow and tall bonnets, as well as larger brimmed bonnets, whose shape honestly reminds me quite a bit of the oysters from Alice in Wonderland. We do also see some larger brimmed hats as well, though these haven't really changed much since the year prior. These hats and bonnets are all sitting on top of hairstyles where the bun is so high on top of the head that it almost makes your head a little bit cone-like. I want to take a moment to point out this plate from Le Concilier de Dames et de Demoiselles. It is so fascinating to me because it is so not of its time. It's very much a headwear reference, the 1830s in my opinion, but the shape of the dress is such a 90s silhouette, 1890s of course, so it's fascinating that this plate is specifically dated August 1st, 1888. But speaking of specific plates, let's take a look at a series of 1888 plates, like we did earlier for our last transitional year, 1882. This time these plates come from the Illustrierte Frauenzeitung, which was a German women's publication. While I don't have a plate for every month, notice as we go from January, to February, to March, June, July, August, and finally September, how the bustle size diminishes. The bodice length also shortens as the year progresses. I love specifically dated plates because I find it so fascinating to compare the change in fashions from month to month. But finally let's move on to 1889. 1889 is a good example of why we can't just look at a decade and say things like, oh yes, the 1880s, the bustle period, because I hate to say it, the bustle's gone. We've reached full-on 1890s fashion here a year early. Our sleeves are puffed. They're not huge, like they'll reach in the middle of the decade, mind you, but still they're puffed. The skirts are A-line. Actually, some almost seem quite slim, especially compared to the widths that those hems will reach very soon. And of course, they're slim compared to the bustles we've been used to seeing for the last several years. In fact, we're beginning to lose an entire layer of skirt. You do still see two layers, like an over-skirt, under-skirt combo sometimes, but occasionally the upper layer has just been removed entirely, leaving us with only one skirt layer all the way from waist to floor. Bodice shapes are not immensely different from the year prior, though the hem of the bodice has shortened even more so that it is only just below the natural waist. Also, while we do see bodices that come to a point at the hem in the center front, we are also starting to see more rounding of the hem and some that are literally just banded at the natural waist. Now, although some of the previous bodice styles do still exist, we're also seeing a new trend for bodices that are a little bit simpler in design and just button all the way up to a high neckline as opposed to the jacket style bodices that have been closing over like contrasting fabric pieces such as plastrons or chemisets. One jacket style bodice that has come into favor though is another throwback style, this time to the 1780s with the double-breasted reddingo style jackets with wide necklines and lapels. Sleeves are puffy and for the first time we are even starting to see some short sleeves for day wear. Though, as with the previous trend for three-quarter length sleeves, long gloves are worn which cover the arm all the way up until they meet the sleeve hem. Our hairstyles have also finally changed. For so long we had been seeing buns pretty darn high on the top of the head, but now all of a sudden ladies hair has been gathered low on the back of the neck, sometimes in loosely braided chignons, though we of course have still retained small bangs in front. Hats on the other hand are now quite large with wider brims or at least anything with a brim has a large brim and a shorter crown. However, surprisingly they have also brought back the small perched bonnet from earlier in the decade. And there you have it, we have made it through the entire decade of the 1880s. The three main styles we've covered have been the natural form, the evolution into the large shelf-like bustle, and finally the disappearance of that bustle into our more 1890s style silhouette. In my opinion the changes of the 1880s are much more subtle than in some other decades, even with these three fairly distinctive silhouettes, and it's easy to see why a lot of people forget the less impactful shapes of the early and the late 1880s and remember the 1880s simply for the shelf-like giant bustles in the middle with their asymmetry and their menswear inspiration. I think that it's also the style that most historical costumers tend to gravitate towards, as it is admittedly a more exciting silhouette. It's interesting to compare the three silhouettes side by side though since they're really pretty drastically different. I have also been asked a lot why the bustle existed, and to be honest I really don't know. But I think that when we look at the 1870s and the 1880s together and break down the evolution of the styles out of the hoops of the 1860s into the and then finally into the more lobster tail bustle shape, the evolution of it all just kind of makes sense. And it's fascinating that the larger 1880s bustle, which is most similar to the larger bustle from around 1873 to 75, was brought back after the natural form period. In my opinion this was actually a practical comeback. In the 1870s the larger bustles were huge, elaborate, and trained. And somewhere in there it's as if they said, this is really impractical, we should change that. But what they changed was removing the understructure. Then they realized that was kind of the opposite of what they needed, and they brought back that understructure while removing the trains and embellishment, creating the more practical bustle skirt of the 1880s. But all fashion is cyclical and they then realized they were just tired of that silhouette after all. Speaking of cyclical, it's also entirely possible that the fading of the bustle silhouette was due in part to another new trend, the bicycle. The safety bicycle became popular in the late 1880s, making it easier for women to ride, but they would have had a hard time doing so while wearing a lobster tail bustle. Therefore, as women found their freedom on their new wheels, fashion evolved to accommodate them. In any case, that is my whole deep dive into the 1880s. If you've missed my previous deep dives covering each of the decades from the 1830s through the 1870s, check out this playlist right up here. I'm sure at some point I will make one on the 1890s as well, or I might even backtrack into the Regency period, so please let me know which decades you would like to see. These videos are a ton of work though, way more so than my usual sewing content, so to be honest, it probably won't happen terribly soon. If you liked this video though, please go ahead and click the thumbs up icon, and if you'd like to see more videos like this from me, please go ahead and click subscribe and the little bell icon to be notified every time I post a new video. I do post videos here on YouTube at least once a week, usually with sewing vlogs out on Tuesdays, and sometimes with additional costuming or sewing related content out on Saturdays, but I post every day over on my Instagram, so please go follow me on Instagram, that's at LadyRebeccaFashions, and if you'd like to help support all of the work that I do on this channel, I do have a link to my Patreon and my Ko-fi down in the description below, or you can send me a super thanks or join my YouTube channel memberships right here on YouTube below the video. 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