After 1815 women's dress became increasingly fussy and decorative, as skirts became fuller, and the waistline gradually descended to the natural waist. Severe corseting also returned, as did layers of petticoats. In this period, women were pushed back into a more modest role, befitting the "weaker" sex, often described as delicate, fragile, and decorative. The intellectuals and artists of the Romantic movement valued emotion and sentiment, in contrast to the cold reason that was perceived to have driven the revolutions of the 18th century enlightenment. Women, believed to be more emotional than men, were idealized as the muses of artists. Some, like Elizabeth Barret Browning and Mary Shelley, achieved recognition as artists in their own right. Women were also placed on a moral pedestal, and looked upon as the guardians of family and community virtue, and the educators of the children. This moral elevation of women would eventually lead some to suggest that women deserved a wider role in public affairs. However, for now, dress reflected the perception of women as weak and decorative. The slope-shouldered, full sleeved silhouette suggested a weak body, and a butterfly-like decorative quality. Later in the period, the look became increasingly subdued and modest.
A new silhouette for fashion history with beret or gigot sleeves, Pelerine collars and Pelisses.
Underwear and Romantic fashion hats.
Identifying the date of dresses of the Romantic era compared with dresses of the 1890s.