Opulent Fashion of the Belle Époque

Are we the only ones lost in a Belle Époque daydream these days? (It probably has something to do with our fabulous new Belle Époque collection …)

French for “The Beautiful Era,” La Belle Époque is considered the period in French history between the end of the Franco-Prussian War in 1871 and the start of World War I in 1914. Considered a time of peace and creativity, arts and culture truly flourished over these forty-three years. Fashion flourished too, of course! There is not one monolithic look for women’s fashion during the Belle Époque. Silhouettes changed dramatically over the years, from bustles to hobble skirts and everything in between. However, there are common themes that run throughout this “beautiful era” that we would like to highlight below.

A New Height for Haute Couture

During the Belle Époque, haute couture became truly solidified as a major force in shaping women’s fashion internationally. Now synonymous with luxury and artistry, the term “haute couture” refers to high-end dressmaking with exquisite craftsmanship and using the finest materials. The most famous and successful couturiers were also regarded as artistic visionaries.

Charles Frederick Worth, widely considered the father of haute couture, founded his couture house in Paris in 1858. By 1871, Worth was dictating fashion trends and dressing royalty, celebrities, and socialites. His designs, which included elaborate ball gowns and opulent day dresses, were embraced by European aristocracy and wealthy Americans. After Worth passed away in 1895, his sons Jean-Philippe and Gaston continued the business.

Charles Frederick Worth ball gown, c. 1872. The Metropolitan Museum of Art.

Following Worth’s lead, many other prominent couture houses opened during this period. Jeanne Paquin became the first woman to establish an internationally recognized couture house when she opened Maison Paquin in 1891. Paquin was known for her luxurious designs, often using bold colors and decorative details like lace and ribbons. One hallmark of early Paquin gowns is a blending of fabrics and trimmings of different textures elements so that the light would beautifully reflect differently across them.

House of Paquin evening dress, c. 1900–1905. The Metropolitan Museum of Art.

Meanwhile, Paul Poiret, who founded his couture house in 1903, revolutionized early twentieth-century fashion. In 1908 he published a limited edition deluxe album called Les robes de Paul Poiret, illustrated by George Lepape, and its impact transformed his legacy in fashion history. Poiret’s models were dressed in an early-nineteenth century revival style reminiscent of the French empress Josephine, showing a straight silhouette rather than the curvaceous “S-bend” that came before it. The ultimate version of this narrow silhouette was the hobble skirt, which was in fashion around 1910. Named after the concept of “hobbling” a horse, the skirt was so tight around the legs that the wearer could not take a full step. Poiret also introduced more fluid, Eastern-inspired garments like the bifurcated (and controversial) jupe-culotte in 1911.

Don’t Step On My Gown!

The fashion illustrations below speak to the many different silhouette changes of the Belle Époque. In the early 1870s, European women’s fashion was dominated by the bustle silhouette, with skirts draped heavily at the back to create a voluminous, trailing effect. By the late 1870s and early 1880s, the bustle flattened, and skirts became narrower, hugging the hips and creating a more elongated, streamlined figure. The mid-1880s saw the resurgence of an exaggerated bustle, reaching its most extreme and angular form before gradually softening.

By the 1890s, the silhouette shifted again, characterized by the hourglass shape with wide, puffed sleeves and a bell-shaped skirt that made the wait look very small in contrast. At the fin de siècle, the S-bend silhouette emerged, giving a “pigeon-breasted” appearance achieved through a new corset shape. By the 1910s, this gave way to a more relaxed, columnar silhouette, influenced by the avant-garde designs of Paul Poiret, who introduced high-waisted, loosely draped garments meant to be worn without a corset.

Although these styles are quite distinct, one thing they all have in common is long hemlines. (Sometimes even a glamorous train, too!) It wouldn’t be until the wartime of WWI that skirts started to be a few inches above the ankle. Then, famously, after the war ended skirts gradually shortened until they reached knee-length by the mid-to-late 1920s. As the simplicity of those Jazz Age skirts have come to symbolize modernity, the opposite is perhaps true — all these different styles of the Belle Époque each symbolize a time when fashion was less practical, but more elegant and opulent.

More is More…

During the Belle Époque, ladies hadn’t heard the expression “less is more.” A look at any fashion illustration from the period will tell you that! Indeed, there were many important components in a fashionable ensemble. Fashionable women’s accessories during the Belle Époque were integral to completing the lavish and elegant looks of the era, serving both practical and decorative purposes.

Hat shapes changed with the same pace that silhouettes did, and served to complete the head-to-toe look. Generally, fashionable hats were extravagantly decorated with feathers, ribbons, and artificial flowers. Hats of the early 1910s are commonly referred to as called “picture hats,” and featured very wide brims and were sometimes adorned with taxidermy birds.

Parasols were a woman’s staple for daytime outings as they protected the wearer from the sun. More elaborate parasols were often crafted from delicate textiles like lace and silk, with ornate carved handles. All three of the above fashion illustrations feature parasols, proving that they were a lasting accessory throughout the period. They also all feature gloves, as they were considered mandatory for any well-dressed woman. Gloves during the Belle Époque varied in length from wrist-length to elbow-length depending on the time of day and the occasion, and were typically made from fine materials such as kid leather or silk.

*Folding fan* (French), c. 1901. Cooper Hewitt Museum.

*Fan* (French), c. 1910. The Metropolitan Museum of Art.

Fans were another quintessential accessory for fashionable women during the Belle Époque, serving as both a practical tool and a symbol of elegance and refinement. The designs on fans were intricate and highly decorative, showcasing hand-painted scenes, floral motifs, or Art Nouveau patterns like the c. 1901 examples from the Cooper Hewitt. According to the Met, of the c. 1910 fan above, “the intricacy and complexity of integrating the variously shaped sequins and paillettes on this fan are both Belle Époque style and French workmanship at its best.”

Looking for the perfect footwear to go with your opulent ensembles? From our new Belle Époque collection, the Elsie Edwardian Pumps and Edith Edwardian Boots each are based on antique originals from the early twentieth century and are accurate to 1890-1920. Pre-order yours by September 29th and receive a 15% discount!