Izvorni znanstveni članak
https://doi.org/10.17234/RadoviZHP.57.33
Neoclassical Fashion Trends in Croatia from 1800 to 1820: A Case Study of the Pejačević Family (Summary)
Katarina Nina Simončič
; Sveučilište u Zagrebu Tekstilno-tehnološki fakultet
Sažetak
This study examines fashion trends and changes in Croatian aristocratic circles between 1800 and 1820 using the example of the Pejačević family. Based on a detailed analysis of contemporary portraits and preserved garments kept in institutions such as the Museum of Arts and Crafts in Zagreb and the Museum of the City of Split, the study reconstructs the stylistic development of both women’s and men’s clothing in the early 19th century. The study focuses on fashion magazines of the early 19th century, which influenced the adoption and adaptation of international trends in Croatia and demonstrates how fashion information from the capitals such as Paris and London circulated through these publications. The study sheds light on the gradual transition from the neoclassical ideals of the late 18th century to the emerging Romantic aesthetic, manifested in changes in silhouette, fabric selection, color palette, and decorative details. Women’s dresses transitioned from the Empire style, characterized by high waists and flowing Greco-Roman-inspired lines, to dresses with wider skirts, shorter hemlines and increasingly ornate embellishments in the 1810s and 1820s. Modifications such as narrower oval necklines, puffed sleeves and the use of patterned borders indicate a move towards greater complexity and individual expression. The use of textiles also evolved – from predominantly lightweight muslin to firmer cotton and silk fabrics – allowing for more structured garments and layered embellishments. Color choices went beyond the traditional white to include pastels and deeper, more vibrant hues that reflected Romantic sensibilities. Men’s fashion in the aristocratic milieu reflected the influence of the dandy, popularized in late 18th century England and France by figures such as George Bryan Beau Brummell. Male portraits show tailored frock coats and vests that emphasize simplicity, functionality and sophistication, moving away from the ostentation of earlier eras. Elements such as narrow pants, high collars and minimal embellishments are striking, reflecting the emerging bourgeois ideal. Accessories such as walking sticks and pocket watch chains also signal social status. The study also considers the crucial role of Vienna as an important center for the procurement of fashionable textiles and garments, highlighting the regional networks through which Croatian aristocrats had access to the latest styles. This connection also facilitated the spread of trends from Western Europe to local contexts. Children’s clothing mirrors the adaptations of adult fashion while taking age and mobility into account: boys wear simplified suits with wide pants and less elaborate coats, while girls wear Empire-style dresses with longer sleeves and minimal embellishment to reflect their youth. Attention is also paid to the clothing of the household staff: the nanny’s practical uniform and modest accessories stand in stark contrast to the aristocratic dress and illustrate the social hierarchies within the household. By considering fashion as a cultural artifact reflecting broader social, political and aesthetic changes, this study offers insights into the ways in which the Croatian nobility negotiated pan-European influences while asserting their local identity through their dress. The portraits and surviving garments of the Pejačević family thus serve as valuable visual and material documents that illustrate the complex interplay between fashion, status and cultural change in early 19th century Croatia.
Ključne riječi
early 19th century; neoclassicism; Croatian nobility; Pejačević family; portraits; clothing artefacts
Hrčak ID:
349100
URI
Datum izdavanja:
21.12.2025.
Posjeta: 0 *