|
We finally begin to see large number of English photographic images in the 1860s with the advent of the albumen process and a first the CDV. This brought down the cost of a portrait. Thus we have a wider view of English society, although it is still weighted toward the privileged classes which could afford to have photographic portraits taken. The vast majority of the images taken during the 1860s were studio portraits, mostly CDVs. As a result we have a vast repository of these portraits giving us details on fashion go trends on a unprecedented scale. We see boys wearing suits which for the first time generally had jackets and pants that matched, We see a variety of pants, including shortened length pants (knee pants and knickers) and long pants. We mostly see boys wearing these suits, Cut-away jackets were a popular style. Older boys wore lapel jackets or collar buttoning styles. What we see mostly is what boys from well-to-do families. We have less information on working-class boys. And school photography was not yet an established tradition, but we see studio portraits of boys posing in their school uniforms, again meaning well-to do boys. Britain did not launch its public (state) seduction system until the 1870s. As photography was virtually all in the studio, we do not get to see how children were dressed when they were out and about, not only at school, but in every day activities away from home. One exception to studio photography were albumen stereo view cards. There was a huge demand for images during the Victorian era. Photographs could no yet be printed in newspapers aad magazines. So English families had stereo view scopes and bought the cards to see what the wider world was like. America had the largest market for these cards, but the British market was the strongest. This was only possible with albumen process of the 1860s. Now many of these cards were land marks, buildings, wildlife, natural features, far away countries and colonies, as well as other subjects. A few had, however, images of Britain capturing British children. This was a small part of the photographic record, but a valuable addition to the studio photography. There are also paintings and drawings, including fashion magazines going backtio the early-19th century.
We finally begin to see large number of English photographic images in the 1860s with the advent of the albumen process and a first the CDV. This brought down the cost of a portrait. Thus we have a wider view of English society, although it is still weighted toward the privileged classes which could afford to have photographic portraits taken. The vast majority of the images taken during the 1860s were studio portraits, mostly CDVs. As a result we have a vast repository of these portraits giving us details on fashion go trends on a unprecedented scale. We see boys wearing suits which for the first time generally had jackets and pants that matched, We see a variety of pants, including shortened length pants (knee pants and knickers) and long pants. We mostly see boys wearing these suits, Cut-away jackets were a popular style. Older boys wore lapel jackets or collar buttoning styles. What we see mostly is what boys from well-to-do families. We have less information on working-class boys. And school photography was not yet an established tradition, but we see studio portraits of boys posing in their school uniforms, again meaning well-to do boys. Britain did not launch its public (state) seduction system until the 1870s. As photography was virtually all in the studio, we do not get to see how children were dressed when they were out and about, not only at school, but in every day activities away from home.
One exception to studio photography were albumen stereo view cards. There was a huge demand for images during the Victorian era. Photographs could not yet be printed in newspapers ad magazines. So English families had stereo view scopes and bought the cards to see what the wider world was like. America had the largest market for these cards, but the British market was the strongest. This was only possible with albumen process of the 1860s. Now many of these cards were land marks, buildings, wildlife, natural features, far away countries and colonies, as well as other subjects. A few had, however, images of Britain capturing British children. This was a small part of the photographic record, but a valuable addition to the studio photography.
There are also paintings and drawings. It was paintings that throughout history had provide a major source of fashion images. And this continues into the 1860s. We notice artistc like William Holman Hunt that provide uisefulm images. This imprtance of art in fashion history only begn to chnge withe invention of photigraphy (1839), but the number of images produced by the early processes (Dags and Abros) in the 1840s and 50s were still rather limitd--much more limited than in America. The number of amateur artistic works declined as photographic portrais could be had at a fraction of the cost and with far greater accuracy. In addition art began to change, but mostly after the 1860s. Acurately depicting reality began to become less imprtant to artosts as photograhy could do that with greater pecission and at much lower costs. Rather artistic movements like impressionism apopeared which would transform the the art world.
There were also fashion magazines going backtio the early-19th century.
Navigate the Boys' Historical Clothing Web Site:
[Return to the Main Victorian Era decade page]
[Return to the Main Victorian Era page]
[Introduction]
[Activities]
[Biographies]
[Chronology]
[Clothing styles]
[Countries]
[Bibliographies]
[Contributions]
[FAQs]
[Glossaries]
[Images]
[Links]
[Registration]
[Tools]
[Boys' Clothing Home]
